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This weekly course covers the most common questions videographers encounter when shooting and editing with DSLR cameras, from choosing a frame size and frame rate to understanding moiré. Authors Rich Harrington and Robbie Carman will also help you understand the impacts of compression and the difference between cropped (or micro 4/3rds) and full-sized sensors in cameras, and much more. This continual FAQ guide is a handy way to find the answers to the questions that plague you the most.
We've headed down to the studio after shooting with the cameras, and we've just popped in the footage from the GH3. >> Mm-hm. >> In general, it looks very much like most DSLRs do, I would say. >> Yeah, I think it performs pretty well. Actually, I would say that, compared to some of the lower-end Canons, some of the lower-end Nikons, I mean, this is a pretty expensive camera. It does a little bit better job and I think what I really like about it as we saw one in a studio is that it's very flexible in terms of its codecs and that kind of stuff and be in a mirror-less camera it's kind of sort of >> yeah >> a new wave of cameras and that kind of stuff.
The one thing that I would say about it is that it does produce a very nice clean image when exposed right you can see here. Looking at the shot if we just take it a little bit bigger you can see that yeah. >> I'm a little I'm a little soft on match one. >> Maybe its a little soft but I you know the thing about it is that its very heavily compressed compared to something like pro res or something like that. So I think that you're going to see some of that softness. >> Here's a better shot. This one you had better focus on. I was a little soft there. That was the beginning of the shot. >> Yeah but even still I can see like here towards his cheek and stuff like that that it does get a little soft sometimes.
I'm just going to chalk that up to compression as well. >> Yes. >> You know, and it's just something to consider. Your working with a lower bit rate type material. You're going to have compression artifacts. >> And there are ways around this. The GH3 is one of those cameras that's been known to be able through either the way it comes or the way you make it, to attach an extra. External recorder so >> That's correct. >> If you don't want to go to any of the internal, more compressed formats you can avoid that but overall color fidelity for such a high compressed format. We got good skin tones there. >> Yeah, no. I mean, it's, there's a reason people consider it in term that DSLR form factor.
One of the, sort of the better video specific type DSLRs out there. Now if you take a look down here I notice a problem that I notice with all DSLRs, and we're zoomed in here a lot to show it, but you can see what's going on there in the sort of the sky. Those highlights are just being clipped, right? We purposely did this, you know, kind of a gray overcast day, properly exposing for Jason here in his face. Leads to nothingness in the skies. >> And to be fair, we were shooting with just available light. >> We were and, but this is a good point is that I think we're, you know, when we've looked at other cameras like the Black Magic Cinema Camera and the pocket camera that were shooting maybe, you know, pro res and they were shooting them log mode or maybe even shooting raw, were that a lot of that highlight detail is going to be recoverable.
This is going to be the same thing as any other DSLR from Canon, Nikon, Sony, whatever. You're going to want to have to employ things like, ND, or flagging things off in that matter to sort of protect your exposure. >> What I am most happy with though, I would agree with you a hundred percent on exposure is that I really like the skin tones, and I think the dynamic range here is very natural. His hair hold up really well. Dark hair, subtle browns. >> And I would agree with you. I was pretty surprised with this camera, like the shadow detail, unlike a lot of other cameras I've seen.
Doesn't just go away. >> Right. >> You're not getting a lot of noise or a lot of banding in that shadow detail. It seems to handle it very well, and yeah, skin tone, I mean that's one of the things, things I look to, is that it's nice. It's not blotchy. It's not like a lot of stair-stepping kind of weird exposure, kind of banding that you get a lot of times with some some other cameras. So overall Rich, I would say You know, this is definitely a contender to consider in the DSLR video market because it's producing nice pleasing images but, at the same time, it doesn't actually, you know, fix all of the problems of traditional DSLR recording.
>> Right. >> So you have to think about those things as well. >> Yep. Well, that's going to be true with any camera that is using something in the mpg-4 space, so. I think this holds up well. I would say my take-away on the GH3 is that it's quite a beneficial camera. In that it's employing the very open standard of the Micro Four Thirds format in the lenses. As you saw in some of our earlier episodes, we've been moving those lenses from AF100s to GH3s to Black Magic cameras to Olympus cameras. So that's great. >> And I, I mean, I think that's the, one of the biggest selling points of this.
Because the micro four thirds, yes, it's smaller sensor compared to APS-C or for a 35 millimeter full frame. But you can pretty much adapt anything on it. And we've seen that, people shooting, you know, on the GH3, they're putting beautiful, you know Zeiss and Cook Glass and other PM Glass, and, you know, whatever, and you can adapt it to the lenses of your choice, which is a huge benefit for this camera system. >> But I still come back and for just something that was a run-and-gun shot with available light on an overcast day. The hair and maybe I'm just jealous here, but the hair looks beautiful.
>> LAUGH >> Alright. So, thank you so much for joining us on this week's show. My name's Rich Harrington. >> And I'm Robert Karman.
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