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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.
Male 1: We're back in the studio and I'd like to just take a moment to, take a look at a few of the shots we got. Male 2: Okay. Male 1: Because I think it's useful to, sort of, debrief on, did the technique work? Male 2: Yeah, absolutely. And, I think it did, pretty well in, in this particular situation, but we'll stop and take a look. Male 1: Alright. So, this first shot here, we positioned our subject. We used the sun path calculator to sort of figure where was the sun going to be. Male 2: Mm-hm. Male 1: And, it's hitting his shoulder here. Coming sort of from up high to his sort of left shoulder. Male 2: Yeah, kind of coming a little bit behind him, and, it looks okay, I mean the exposure and stuff looks good but what I'm noticing about it is that kind of like on his neck, the front of his chest, we're getting some pretty harsh shadows there.
Male 1: Yeah Male 2: And some pretty it's, pretty big contrast differences. And you know, it looks okay and certainly we could get by with it, but I think that we could enhance this a little bit. Male 1: Yeah, so that's just what we did. Now, right here you're seeing those shadows, pretty tough, you know, as we get in tighter there, you know the light is definitely hitting his back. Male 2: And it definitely feels different between those two, those two shots. You know, we definitely need a little bit more fill here. Male 1: Yeah, and so what's happening actually is behind him we placed a shiny board to bounce some of that light, because the sun was actually high in the sky. And we're bouncing it back onto him, which is working okay Male 2: Yep Male 1: but his face is in shadows.
Male 2: Yep Male 1: So let's take a look at these clips here. We see that his face is shadowed. Male 2: Mm-hm. Male 1: But then as we bring the reflector in, it's going to start to fill some of that information in. So we go from being way too dark. Let's just roll that forward, fast forward there. There's the actual reflector you saw it come into the scene. So we go from the shot being dark, and I'll just drag forward. As we angle that, big difference there, right? Male 2: Yeah and I like it, and its almost like a color correction technique on set, right? Instead of doing this with windows, or shapes, or you know or something of that nature, we're bouncing a little light and what I really like, especially cause we use the golden side of this, of this flexi fill is that it really enhances that nice yellow golden character on his guitar.
Makes the skin tone on his arm there look a little bit more tan, a little more lush. And it also help some of that shadow that we're seeing on his chest and on his neck there. Male 1: Yeah, there it is without the reflector. I mean, definitely harsh shadows. If we were going for that gritty sort of sad look we could do that, but this song is more reflective, and you know, he's walking through. And we wanted to have it, so instead of it being dark, we really just, look at that fill his face in. Male 2: Yeah, it really helps with his eyes. Eyes are a really important thing for when we're seeing people in the music videos.
It helps with his hair. You'll notice before the, the fill was in there, his hair kind of looked crushed, kind of looked, there's not a lot of detail in it. But adding the fill in definitely, definitely helped. Male 1: Alright, well that worked very well. And then we sometimes put all those pieces together. Here it is on the guitar surface. Male 2: Yep Male 1: Again, the guitar's fine, but it's so flat in this scene. Male 2: Yeah, again it doesn't do really anything for me. I'd really like to sort of maybe fill this a little bit. And in this shot, we actually combined the flexi fill with the shiny board. So what we did was that we positioned the shiny board behind him.
Male 1: Which is filling in the side of his arm here, you see it's actually getting this side of the guitar. Male 2: Yup, and then we used a flexi fill kind of lower down into this area right there. And so we were bouncing sort of twice, we were double bouncing, if you will. Male 1: Yes Male 2: This is a great way of sort of combining the two reflective techniques. And you know, depending on the amount of room that you have the amount of materials that you have, you can get really complicated with bouncing off of ceilings, bouncing off of you know, shiny objects, all sorts of stuff to really kind of create the fill that you want.
Male 1: And I like what we have here. If we look at the scopes, we've got a reasonable amount of detail in the highlights. Male 2: Mm-hm. Male 1: We could still see details in those clouds. Male 2: Yep. Male 1: There's so much to recover here, but his guitar, just compare the before to the after. There's so much more there to like. Male 2: Yeah, and you know to me, just again, using the sort of the golden or the warmer side of this flexi fill, just makes it feel more approachable. This nice, warm look sort of enhancing the sort of yellow tones of the wood and stuff. I think it really worked well and, again, the thing about flexi fills and shiny boards is that, you know, you can spend a bit of money on them, but don't forget, and we discussed this when we were out in the field, that, hey, if you got of piece of, you know, cardboard with some aluminum foil on it, guess what? You kind of have, you know, kind of have a shiny board.
Male 1: Well, I just picked up a new five-in-one reflector at a big box electronics store just cause I needed a spare. It was about 40 bucks, so there are various grades of these. The good news is, is that they're pretty easy to use. The hardest thing about this Rob, Male 2: Yeah? Male 1: And I'm going to challenge you here. Male 2: Oh no. Male 1: It's not opening them or using them. It's getting them closed. Male 2: Yeah. Male 1: So, what you do is you got it out. You're going to reverse your hands. So you get one hand with the fingers on the front. One hand with the fingers on the back. You ready? Male 2: I'm ready. Male 1: Three, two, one. Male 2: Oh, I did it.
Male 1: Oh, oh. Male 2: Oh, I did it; I think I beat you. Male 1: Yeah, I think you did better. Male 2: Oh, no, mine came out again. Male 1: One more time. Male 2: Male 1: Alright, three, two, one, twist, and it folds into itself. And it should make a little pocket like that. You got it. Male 2: Sort of. I'm holding it together. Male 1: Stuff it in the bag, call it good. Thanks a lot for joining us. My name's Rich Harrington. Male 2: And I'm Robert Carmen.
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