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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: Okay. We're back in the studio and like we've been doing for past episodes, let's take a look at some of the footage and see how all these pieces really worked out. We're in a car situation here. Cars aren't known for great lighting. Male 2: Not unless you're in a Rolls Royce or something where they put those you know, really lights on just to make you feel more important. Male 1: Yeah, and, and as we look at this here, you know, there's nothing wrong with the shot, let's bring up the scope, I mean, you know, we are not over exposed, we're not dramatically under exposed, but I would say that it's not great, right? Male 2: No, I mean the thing that is bothering you about this is that, you know, his face is certainly dark, but that's okay.
He's inside of car. We do have a little highlight there, you know, some of the reflection on the glass we can see back through the windows behind him. But, I mean, where did the interior of the car go? I mean, you know, we're sort of getting totally crushed on the seats. There's no detail now, granted this is a black interior on this car so it can be dark. But I feel like, especially in the interior, also down sort of here on his shirt and on his you know, part of his face, we can just add a splash of light to fill it in and make it look and touch better. Male 1: Oh, we did that. In fact, we brought the light in from the side and we plugged in, into the inverter.
And we use that low ego light there. Now that ego light was just a soft light, it was a compact fluorescent bulb. You can get the CFL bulb at the regular hardware store. These are pretty simple to use. Male 2: Yeah and this is great because it just gives that little extra splash of light. You know, this is kind of the reverse of the first shot we saw, but this is coming light coming in from the window. They use that nice little splash light on a pad of paper the artist here is writing some lyrics for a song, it's part of the music video. And just you know, it adds a little touch there. Male 1: Yeah and we can see as we look around in the car there. We're starting to get a little more detail.
We can see the interior of the car. Male 2: Yep Male 1: We can actually see some separation. And so that light did nice job coming from the side. But we wanted a little bit more on his face. And I think that definitely the interior brought out. But right here, we just wanted to punch a little bit, and that's where this came in handy. We are able to shoot through the window, and just bounce a little bit of spotlight under his face. Male 2: You know, and Rich, the thing I love about all of these small portable lights that are battery powered, is that you're not, you know, on a sea stand. You're not fixed. So, like, if you're out there, and you have subjects moving, you can kind of move this, bounce it off the roof, you know, the ceiling of the car.
Male 1: Yeah. Male 2: Or move it down, so it's kind of coming from underneath them. All that kind of stuff. And it adds a lot of flexibility of what you can do in tight spaces like a car. Male 1: Yeah, and I think we got some really great light here. I mean it's really nice to be able to see those lyrics as he's writing them, we'll go to a closer shot here. Kevin Bradley was our DP here on this today, and I think he did a very nice job, you know, to be able to actually see that detail while having the shallow depth of field as he writes out the lyrics to his song. Male 2: And again the thing I like about it is that it's not, I mean we were sort of actually kind of back in the woods, you know, with this car.
And without the light, this kind of would have been all flat. But what I really like about this is a little splash of light doesn't even seem like it's lit. Male 1: Right. Male 2: You know, and while we still have some nice contrast now, and here's the shot back in the car. Male 1: Yeah. Male 2: We have some, you know, contrast between the car and what we're sort of focusing our viewer's attention to, that pad of paper. Male 1: Yeah, and a s you saw when we we were shooting it, and you see here again, there's no electrical outlets, other than what's in the car. Here's a GoPro shot of that and we actually played with the interior lights of the car. You can see Kevin getting set there, making a few adjustments. But what we did, is we placed several of these lights.
So, we used some of the LED lights that you saw earlier at the start of the episode. We placed one of those in the glove compartment box, another in the upholder there. We had the compact fluorescent sitting on the seat opposite him, and then we were using the spotlight from the outside. And what that really let us do is get a lot of light into the car. Now, this is more of a behind-the-scenes shot here Male 2: Yeah, I mean, this is, this is a little overexposed. Exposed. I mean, the go pro was sort of obviously, a little overexposed here, so it seems like, there is a lot of light in the car. But properly exposing it, for the look that we're going for, it was much darker than this in the actual car.
Male 1: Yeah, but I just wanted the people to sort of see the environment. Male 2: Yep. Male 1: I really think, we nailed it, that is a great exposure. Male 2: Yeah, looks really good. Male 1: Alright. So, what you've got here is, make sure you take advantage of the lighting instruments. I always keep a couple of battery operated lights in my camera bag, so I can just grab that, run it over. Simple thread mount on the bottom. Toss it on a gorilla pod, or something like that, an easy to control grip surface. You could hang it off a chair, hang it from the ceiling. Have somebody hand hold it out to the side. It works great. And then, of course, there are better instruments or inverters, right? Male 2: Well, yeah, there's a whole range of things you can do.
I just want to make the point too, that it seems like we're advocating that you go out and buy specialized gear for this purpose. Yeah, it's going to help. I mean, specialized gear like this is going to do wonders for you. But even having tools like a regular old flashlight or one of those little, you know, construction lamps that you can get at home depot and that kind of stuff. Male 1: Yeah. Male 2: Will really help you out in situations like that. And tools like a little simple power inverter you can find anywhere for relatively cheap. Male 1: Oh yeah, we've even hit up, I mean we've been on shoots in the field and we've just stopped at the local hardware store. This is a common item. Male 2: Yeah, the one little word of advise that I give you about an inverter, is make sure you plug it in, start the car, and then plug in your gear.
A lot of times gear, there's a real surge down those inverters, and I don't want you to ruin any gear, so make sure the car is on or at least in electrical mode, you've plugged in the inverter, and then plug it into your gear. Don't have the gear plugged in previously. Male 1: Alright, so take a look at some of these options, build your kit out, and I think what you'll find is that shooting without electrical outlets is definitely a possibility. And it's going to expand the opportunities for more shooting environments and better locations.
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