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DSLR Video Tips
Illustration by John Hersey

Evaluating the results


From:

DSLR Video Tips

with Richard Harrington and Robbie Carman

Video: Evaluating the results

Male 1: So Rich, we're back from the field here in We didn't
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  1. 1m 23s
    1. DSLR Video Tips Trailer
      1m 23s
  2. 2m 30s
    1. Goodbye
      2m 30s
  3. 2m 23s
    1. Welcome
      2m 23s
  4. 3m 36s
    1. Frame size recommendations
      3m 36s
  5. 15m 6s
    1. Exploring frame rate choices
      6m 16s
    2. Frame rate recommendations
      4m 42s
    3. Mixing frame rates
      4m 8s
  6. 9m 19s
    1. Understanding color loss
      5m 6s
    2. Understanding detail loss
      4m 13s
  7. 12m 8s
    1. Comparing sensor sizes
      3m 43s
    2. Why choose a cropped sensor
      4m 40s
    3. Why choose a full sensor
      3m 45s
  8. 9m 9s
    1. Understanding how DSLR viewfinders react when recording video
      2m 11s
    2. Understanding live view
      6m 58s
  9. 8m 39s
    1. Understanding aspect ratio
      4m 14s
    2. Why shoot 16:9
      4m 25s
  10. 8m 6s
    1. Composition matters
      3m 24s
    2. Exploring the action-safe area
      4m 42s
  11. 23m 7s
    1. Understanding card speeds
      8m 59s
    2. Shooting video
      6m 42s
    3. Shooting time lapse
      7m 26s
  12. 11m 27s
    1. What is rolling shutter?
      5m 50s
    2. Avoiding rolling shutter
      5m 37s
  13. 8m 11s
    1. Moiré explained
      3m 10s
    2. Avoiding Moiré
      5m 1s
  14. 7m 36s
    1. The dangers of tiny screens
      1m 22s
    2. How to set focus before recording
      6m 14s
  15. 9m 32s
    1. Using your HDMI port
      5m 17s
    2. Adapting HDMI to SDI
      4m 15s
  16. 20m 6s
    1. You call this a mic?
      4m 7s
    2. The impact of Auto Gain Control
      4m 34s
    3. The dangers of not monitoring audio
      7m 27s
    4. Using an attached mic
      3m 58s
  17. 4m 44s
    1. Shutter speed explained
      4m 44s
  18. 19m 49s
    1. The Exposure Triangle for low light
      3m 40s
    2. Adjusting aperture
      5m 46s
    3. Adjusting ISO
      5m 24s
    4. Adjusting shutter speed
      4m 59s
  19. 12m 26s
    1. Avoiding lens flare
      2m 8s
    2. Using a lens hood
      2m 46s
    3. Using a matte box
      4m 15s
    4. Exploring other strategies for avoiding lens flares
      3m 17s
  20. 17m 20s
    1. What causes shake?
      3m 23s
    2. Using a stable platform
      9m 27s
    3. Fixing shake in post
      4m 30s
  21. 16m 24s
    1. What are prime lenses?
      3m 21s
    2. Exploring low-light performance
      3m 2s
    3. Working with shallow depth of field
      4m 31s
    4. Examining cost issues
      5m 30s
  22. 11m 39s
    1. What is a matte box?
      4m 2s
    2. Discussing the benefit of filters
      4m 19s
    3. Reducing lense flare
      3m 18s
  23. 14m 19s
    1. What is an EVF?
      2m 51s
    2. Checking focus
      3m 56s
    3. Checking exposure
      3m 28s
    4. Viewing camera settings
      4m 4s
  24. 12m 5s
    1. What is a loupe?
      2m 38s
    2. Proper focus with a loupe
      4m 18s
    3. Proper exposure with a loupe
      5m 9s
  25. 10m 33s
    1. What is a monopod?
      2m 39s
    2. Exploring stabilized shooting
      4m 28s
    3. Exploring overhead shooting
      3m 26s
  26. 13m 48s
    1. Why use a dedicated audio recorder?
      2m 42s
    2. What inputs do I need?
      5m 7s
    3. File formats to choose from
      5m 59s
  27. 17m 6s
    1. Setting levels
      6m 10s
    2. Monitoring sound
      6m 51s
    3. Slating takes
      4m 5s
  28. 6m 22s
    1. Apps you can use to record sync sound
      2m 55s
    2. Adapter cables
      3m 27s
  29. 10m 1s
    1. Why does my exposure change with a zoom lens?
      1m 21s
    2. F-Stop reviewed
      2m 58s
    3. Strategies for dealing with the problem
      5m 42s
  30. 13m 37s
    1. How can I check my focus?
      1m 27s
    2. Zooming in
      3m 14s
    3. Using a target
      3m 44s
    4. Using AutoFocus at the start
      5m 12s
  31. 17m 19s
    1. How many batteries do I need?
      1m 27s
    2. Power or no power
      4m 6s
    3. Other batteries to consider
      6m 35s
    4. Strategies for lengthening battery life
      5m 11s
  32. 27m 29s
    1. What adapters should I carry?
      1m 21s
    2. Adapting audio
      7m 13s
    3. Adapting video
      8m 54s
    4. Power options
      4m 9s
    5. Connecting gear
      5m 52s
  33. 16m 4s
    1. What type of microphone should I use for run-and-gun shooting?
      2m 16s
    2. Built-in microphones
      3m 36s
    3. Shotgun microphones
      4m 27s
    4. Microphone preamps
      5m 45s
  34. 13m 38s
    1. What type of microphone should I use for an interview?
      2m 2s
    2. Lavaliere mic
      6m 35s
    3. Boom mic
      5m 1s
  35. 16m 45s
    1. Why do I need a fluid head?
      3m 6s
    2. Standard photo head drawbacks
      4m 1s
    3. Why use a fluid head?
      6m 9s
    4. Converting a photo tripod
      3m 29s
  36. 13m 34s
    1. Why should I use a slate?
      2m 0s
    2. Using a digital slate
      5m 13s
    3. Using a physical slate
      3m 32s
    4. Alternate metadata
      2m 49s
  37. 10m 42s
    1. DSLR recording time limits
      4m 14s
    2. Legal limits
      6m 28s
  38. 22m 37s
    1. Is the Canon 6D right for me?
      2m 36s
    2. Beneficial features of the Canon 6D
      3m 41s
    3. Drawbacks of the Canon 6D
      4m 21s
    4. Menu options of the Canon 6D
      11m 59s
  39. 21m 17s
    1. The Nikon D600
      2m 38s
    2. Beneficial features of the Nikon D600
      6m 4s
    3. Drawbacks of the Nikon D600
      3m 45s
    4. Menu options of the Nikon D600
      8m 50s
  40. 8m 39s
    1. Can I attach lights to the camera?
      4m 57s
    2. Moving lights off-center
      3m 42s
  41. 18m 4s
    1. How do I get my camera into tight spaces?
      1m 58s
    2. Using GorillaPods
      3m 52s
    3. Using additional Grip Items
      4m 30s
    4. Using a DINO
      3m 50s
    5. Using a Lens Skirt
      3m 54s
  42. 17m 42s
    1. How can I get smooth tracking shots?
      1m 42s
    2. Walking the camera
      7m 55s
    3. Using sliders and dollies
      8m 5s
  43. 23m 1s
    1. How can I fix shaky shooting?
      4m 37s
    2. Fixing shaky shooting in Final Cut Pro X
      8m 54s
    3. Fixing shaky shooting in Premiere Pro
      9m 30s
  44. 15m 18s
    1. How should I manage my cards in the field?
      2m 16s
    2. Using card wallets
      5m 33s
    3. Mirroring your data
      7m 29s
  45. 23m 56s
    1. How do I transfer my footage?
      12m 15s
    2. Monitoring your footage
      11m 41s
  46. 26m 28s
    1. How do I rack focus?
      1m 47s
    2. Using a Prime Lens
      8m 22s
    3. Using a Zoom Lens
      9m 13s
    4. Using a follow focus
      7m 6s
  47. 23m 8s
    1. How do I clean my camera?
      2m 55s
    2. Keeping the lens clean
      7m 48s
    3. Cleaning the sensor
      8m 14s
    4. Performing a wet sensor cleaning
      4m 11s
  48. 23m 58s
    1. How do I get slow motion footage?
      1m 50s
    2. Setting up slow motion in camera settings
      4m 57s
    3. Slow motion in Final Cut Pro X
      6m 17s
    4. Slow motion in Premiere Pro
      3m 57s
    5. Slow motion in After Effects
      6m 57s
  49. 14m 53s
    1. How do I import into Final Cut Pro X?
      59s
    2. Transferring from a card into Final Cut Pro X
      5m 3s
    3. Importing footage into Final Cut Pro X
      8m 51s
  50. 12m 10s
    1. How do I import into Premiere Pro?
      1m 19s
    2. Transferring from a card into Premiere Pro
      3m 55s
    3. Importing footage into Premiere Pro
      6m 56s
  51. 19m 13s
    1. How do I sync sound in post?
      1m 20s
    2. Syncing sound with Final Cut Pro X
      4m 40s
    3. Syncing sound with Premiere Pro
      5m 57s
    4. Syncing sound with Plural Eyes
      7m 16s
  52. 12m 50s
    1. Lighting with available light
      2m 23s
    2. Calculating the sun's position
      2m 7s
    3. Reflectors
      1m 42s
    4. Shiny boards
      1m 31s
    5. Evaluating the results
      5m 7s
  53. 16m 2s
    1. Lighting with alternate sources
      3m 3s
    2. Battery operated LED lights
      2m 15s
    3. Using an inverter
      2m 28s
    4. Using a generator
      1m 19s
    5. Flashlights & GL-1
      1m 28s
    6. Evaluating the results
      5m 29s
  54. 26m 3s
    1. Shooting in small places
      1m 44s
    2. Using portable lights
      8m 0s
    3. Compact lighting
      1m 8s
    4. Lens choices
      1m 31s
    5. Mounting the camera
      2m 11s
    6. Remote operation
      4m 24s
    7. Evaluating the results
      7m 5s
  55. 11m 37s
    1. Follow focus overview
      2m 25s
    2. What is a follow focus?
      2m 38s
    3. Setting the marks
      1m 56s
    4. Operating follow focus
      1m 4s
    5. Evaluating the results
      3m 34s
  56. 13m 57s
    1. Achieving critical focus
      2m 36s
    2. Punching in on LiveView
      2m 5s
    3. Using a loupe
      2m 14s
    4. Using auto focus before the shot
      2m 20s
    5. Using a monitor
      2m 30s
    6. Change the aperture
      2m 12s
  57. 23m 0s
    1. Exposure
      2m 21s
    2. The impact of sensor size
      2m 25s
    3. ND filter
      2m 51s
    4. Variable ND filter
      3m 4s
    5. Matte box
      3m 39s
    6. Evaluating the results
      8m 40s
  58. 10m 29s
    1. Backlit subjects in production
      2m 20s
    2. Shooting "in the middle"
      2m 23s
    3. Overpowering the backlight
      1m 30s
    4. Evaluating the result
      4m 16s
  59. 31m 22s
    1. Backlit subjects in post-production
      1m 54s
    2. Look at scopes
      5m 20s
    3. Enhancing the shots
      4m 51s
    4. Enhancing with Speedgrade
      9m 31s
    5. Enhancing with plugins
      9m 46s
  60. 7m 3s
    1. Audio for interviews
      2m 1s
    2. Placing the mic
      1m 29s
    3. Interview techniques
      1m 36s
    4. Interviewee placement
      1m 57s
  61. 11m 57s
    1. Shooting a product shot
      1m 30s
    2. Building the backdrop
      1m 25s
    3. Compact lighting
      2m 59s
    4. Cleaning the object
      1m 16s
    5. Using a macro lens
      2m 25s
    6. Using a turntable
      2m 22s
  62. 9m 8s
    1. Using a field monitor
      1m 44s
    2. Connecting the monitor
      1m 19s
    3. Using peaking and using focus in red
      1m 36s
    4. Using color assist
      2m 34s
    5. Looping the monitor
      1m 55s
  63. 13m 25s
    1. Scopes
      3m 37s
    2. Reading the histogram
      2m 11s
    3. Reading a waveform monitor
      2m 38s
    4. Reading a vectorscope
      4m 59s
  64. 30m 59s
    1. What is a GoPro?
      2m 35s
    2. The GoPro bodies
      3m 53s
    3. Essential GoPro gear
      9m 0s
    4. Powering the GoPro
      6m 13s
    5. Accessing GoPro menus
      3m 34s
    6. Essential menu commands
      5m 44s
  65. 9m 2s
    1. Exposure
      1m 1s
    2. The exposure triangle
      2m 40s
    3. Evaluating the settings
      5m 21s
  66. 15m 48s
    1. What is aperture?
      3m 29s
    2. A DP's perspective on aperture
      45s
    3. Adjusting aperture
      2m 14s
    4. Evaluating the shots
      9m 20s
  67. 14m 4s
    1. What is shutter speed?
      3m 58s
    2. A DP's perspective on shutter speed
      1m 37s
    3. Adjusting shutter speed
      2m 54s
    4. Evaluating the shots
      5m 35s
  68. 18m 12s
    1. What is ISO?
      5m 12s
    2. A DP's perspective on ISO
      1m 52s
    3. Adjusting ISO
      2m 49s
    4. Evaluating the shots
      8m 19s
  69. 7m 41s
    1. Controlling exposure beyond camera settings
      2m 44s
    2. Adding light
      2m 54s
    3. Adding filtration
      2m 3s
  70. 19m 27s
    1. Getting the camera higher
      2m 26s
    2. Using a monopod to extend your reach
      2m 46s
    3. What is a jib?
      3m 33s
    4. Operating a jib
      6m 21s
    5. Evaluating the shots
      4m 21s
  71. 18m 14s
    1. The Blackmagic Pocket Cinema Camera
      4m 38s
    2. What to look out for
      5m 3s
    3. Pocket Cinema Camera workflow
      3m 51s
    4. Evaluating the shots
      4m 42s
  72. 17m 15s
    1. Shooting with a GoPro mount
      5m 14s
    2. Connecting a GoPro remote
      2m 46s
    3. Viewing with a remote app
      3m 48s
    4. Recording with a remote app
      3m 11s
    5. Evaluating the shots
      2m 16s
  73. 14m 15s
    1. Using a click track
      1m 28s
    2. Creating a click track
      5m 10s
    3. Playing a click track in the field
      36s
    4. Recording with a click track
      53s
    5. Syncing in post
      6m 8s
  74. 7m 5s
    1. Preparing for a shoot with multiple DSLR cameras
      2m 10s
    2. Scouting the location
      1m 16s
    3. Lighting for multiple cameras
      48s
    4. A DP's perspective on multicamera lighting
      1m 56s
    5. Matching cameras
      55s
  75. 5m 21s
    1. Doing a shoot with multiple DSLR cameras
      2m 21s
    2. Positioning the cameras
      1m 2s
    3. Syncing the cameras
      1m 2s
    4. Directing the shoot
      56s
  76. 16m 59s
    1. Achieving a film look
      2m 36s
    2. Post-processing to achieve a film look: Part one
      7m 20s
    3. Post-processing to achieve a film look: Part two
      7m 3s
  77. 28m 47s
    1. Black Magic Cinema Camera
      3m 44s
    2. Things to Look Out For
      9m 41s
    3. Recording with the Blackmagic Cinema Camera
      2m 15s
    4. Focusing
      3m 17s
    5. Evaluating the Shots
      5m 12s
    6. RAW Workflow
      4m 38s
  78. 15m 50s
    1. Achieving a film look
      2m 28s
    2. Post-processing to achieve a film look: Part 1
      8m 45s
    3. Post-processing to achieve a film look: Part 2
      4m 37s
  79. 18m 58s
    1. Shooting time lapses with a GoPro
      2m 25s
    2. Setting up the GoPro
      4m 30s
    3. Accessing the footage
      4m 52s
    4. Processing the footage
      7m 11s
  80. 21m 21s
    1. Why assemble a time lapse?
      1m 59s
    2. Assembling a time lapse in Photoshop
      6m 36s
    3. Assembling a time lapse in Premiere Pro
      7m 43s
    4. Assembling a time lapse in After Effects
      5m 3s
  81. 22m 40s
    1. Processing multiple-camera footage
      1m 42s
    2. Organizing the media for Adobe Premiere Pro
      5m 36s
    3. Syncing in Adobe Premiere Pro
      6m 20s
    4. Editing in Adobe Premiere Pro
      9m 2s
  82. 15m 1s
    1. Processing multiple-camera footage
      1m 8s
    2. Organizing and syncing media for Final Cut Pro X
      5m 13s
    3. Editing in Final Cut Pro X
      8m 40s
  83. 21m 56s
    1. How do I get a GoPro in the air?
      2m 1s
    2. Attaching a GoPro to a quadcopter
      2m 23s
    3. Calibrating the quadcopter
      2m 13s
    4. Flying with the GoPro on the quadcopter
      3m 48s
    5. Evaluating the quadcopter footage
      5m 49s
    6. Getting more control with the quadcopter
      5m 42s
  84. 15m 58s
    1. Sliding the camera
      3m 1s
    2. Tabletop dolly
      3m 8s
    3. What is a slider?
      3m 55s
    4. Using a slider
      3m 32s
    5. Slider versatility
      2m 22s
  85. 13m 14s
    1. Shooting with an iPhone 5S
      2m 58s
    2. Shooting slow motion
      3m 11s
    3. Accessing footage
      3m 17s
    4. Assembling footage
      3m 48s
  86. 16m 9s
    1. Benefits of mirrorless cameras
      2m 48s
    2. Mirrorless workflow
      2m 41s
    3. Things to look out for
      6m 10s
    4. Evaluating the footage
      4m 30s
  87. 26m 6s
    1. What is Log?
      2m 40s
    2. Why should you shoot Log?
      6m 7s
    3. Using a LUT with Dynamic Link
      8m 11s
    4. Creating a LUT in Adobe Speedgrade
      9m 8s
  88. 30m 34s
    1. Matching cameras
      1m 58s
    2. Variables
      4m 22s
    3. Calibration
      8m 42s
    4. Evaluating the shots
      3m 5s
    5. Matching Log footage
      6m 30s
    6. Matching ProRes
      5m 57s
  89. 11m 39s
    1. Achieving a film look
      3m 7s
    2. Using Resolve presets
      4m 29s
    3. Color grading from scratch
      4m 3s
  90. 19m 1s
    1. Achieving a filmic look
      3m 58s
    2. Using Speedgrade presets
      7m 34s
    3. Color grading from scratch
      7m 29s
  91. 11m 48s
    1. Remotely controlling a camera
      1m 34s
    2. Attaching a CamRanger
      2m 38s
    3. Creating a network
      4m 50s
    4. Controlling with an iPad
      2m 46s
  92. 10m 49s
    1. Taking a look at shaky footage
      1m 45s
    2. Fixing shaky footage in Final Cut Pro X
      3m 18s
    3. Fixing shaky footage in Adobe Premiere Pro
      5m 46s
  93. 14m 46s
    1. A quick overview of site surveys
      1m 25s
    2. Anticipating the weather
      3m 11s
    3. Taking panoramic site photos with Occipital 360
      3m 46s
    4. Collecting location information with PanaScout
      2m 48s
    5. Portable and mobile pro audio to go
      3m 36s
  94. 24m 54s
    1. Taking a look at third-party plugins
      3m 21s
    2. Exploring Tiffen Dfx Filter plugins
      6m 59s
    3. Boosting creativity with Tiffen Dfx Looks
      4m 3s
    4. Exploring the Magic Bullet Suite
      5m 45s
    5. Taking your footage further with Magic Bullet Looks
      4m 46s
  95. 9m 1s
    1. Scouting the lighting situation out on location
      1m 10s
    2. Using Lighttrac to determine sun or moon position
      2m 12s
    3. Using Sun Seeker to track sun or moon position
      3m 2s
    4. Determining the position of the sun or moon with Focalware
      2m 37s

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DSLR Video Tips
24h 8m Appropriate for all Jul 06, 2012 Updated May 16, 2014

Viewers: in countries Watching now:

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.

Topics include:
  • Mixing frame rates
  • Dealing with color and detail loss from compression
  • Comparing sensor sizes
  • Understanding how DSLR viewfinders react when recording video
  • What is aspect ratio?
  • Getting the right speed of memory card
  • Avoiding rolling shutter
Subjects:
Video DSLR Video
Software:
Final Cut Pro Premiere Pro
Authors:
Richard Harrington Robbie Carman

Evaluating the results

Male 1: So Rich, we're back from the field here in the studio and we've used some small lights in a car situation. Rich: Yep. Male 1: We've used some wide angle lenses. Rich: Yep. Male 1: Let's take a look at what we've got. Rich: So, I've opened up some of the shots and most of these were shot by DP Kevin Bradley and as you see in the field, we've got a wide range. So, here we are in the car, which is normally sort of a cavernous place, and we're shooting from the back seat. Male 1: Mm-hm. Rich: Well, we placed a soft, compact fluorescent light off to the side on the passenger seat to illuminate. And this made it look like, not just like his face was hitting the daylight, but all that stuff on the interior.

It was like we ripped the door off of the car and let light in without having to destroy the very nice car. Male 1: Yeah, and on, on this particular shot, where Jason's writing some song lyrics on this pad, what I really like about it that it's almost like a, a technique that I would do in color correction. Like putting a window around the pad, like a vignette or something, and brighten up that center. Because what would happen without this light, is that everything would be kind of, just kind of dark and kind of monotone, and this extra little splash of light right on the pad of paper really kind of helps sort of develop the whole look for the scene.

Rich: Yeah, and what we also had were some of those smaller battery lights just placed into the dash to hit his hands here so that you can see it coming across the top of the hands there. There's a little tiny light and that's actually working. Really well. Now, as we take a look from the side here, you see that that's filling in. You know, I think that shot's a tad dark but there's enough detail in his hair that we can look out. Male 1: Yeah, we can, we can pull that back out for him in color correction for sure. Rich: And in here, we're just sort of seeing what that situation looks like in compact settings. Now, that's it from the side angle there. Male 1: Mm-hm.

Rich: If you've ever, you know, tried to put a camera in a car, there's a great amount of dynamic range there. I'm really happy with that. Male 1: Yeah, I mean, this is the thing is that just a little bit of light goes a long way. And as we talked about earlier this week, things like using your iPhone or your, an iPad and using those flashlight, you know, apps. Just a little touch of light can really help illuminate a scene and get much better results like we have here. Rich: And this is one of those situations where we're dealing with a backlit subject. We talked about backlighting on some of our previous shows. The idea here is that, it would be really difficult.

Because while this is the forest and the trees, I love how we're getting the Bocha in the really bright highlights. But it's not just gone to pure white. Even the brightest area back there, is not too intense. Let's take a look at the reference monitor for a second. And, you know, that's looking pretty good right? The highlights are just barely kissing Male 1: Yeah, they're not, they're not clipped out at all. I mean we could maybe argue that the hair on the back of his neck is a little crushed. But again, it's not as crushed as it possible could be if we didn't have that little bit of feel. And I think that for sure, you know, his hair and some of the darker portions there are recoverable because we have that fill light going on in the space.

Rich: And it's kind of motivated. I mean he's still supposed to feel like he's in a car. Male 1: Yeah. Rich: Which doesn't feel like a bright lit scene, but what we have here is, this is how I think the human eye would see it, not how the camera would have seen it without the light. Male 1: And that's an important thing, too, to also keep in mind when lighting a scene. And we talked a lot with DP Kevin Bradley about this on location. And that's that, you want things to feel natural. You want the lights to go invisible in the scene. And Jason was here inside of a car. And a car, you know, kind of in a forest in the woods. Rich: Yeah. Male 1: And so we wanted things to kind of seem moody, kind of seem dark.

So we didn't want to over light it. And I think that's one thing that people getting into DSLR video production tend to do. With small lights or lights in general, is they tend to over light the scene and have no shadows. And my personal opinion, let those shadows and that nuance of the light work for you to set the mood of the scene. Rich: And that's what we're seeing right here. This is an extremely tight shot on the lyrics or the lighting and you know what we're doing here is we're going right in and those lights are being positioned. You could see we're finding the right spot where okay too much light is looking artificial.

We just have to position those. But this is awesome. This is one of those cases where shooting at maybe one eighth was motivated here where we have the center of the lyrics in focus. We can see the title of the song, and the edges are falling out. because we don't actually want them to read every single lyric here, but we've played with the aperture. We've got some different settings. The shallow depth of field is really working to our advantage here. And obviously, that lets a lot of light in, but it seems to really be working in those situations. And I like that, particularly, and it's difficult here to pull off some of those bright highlights behind him.

That seems to really be working nicely. And here, we're actually sort of modeling the light as a character. This is a difficult chop, but we're playing at finding the angle here. Male 1: Yeah. What I like about this one is that as you play through it, it almost is like, is he out there in the woods, out there in the forest sitting in his car. That, it's sort of the natural breeze of the trees bending that light, when in fact, this is really just a grip on set, moving that light around a little bit to emulate that effect. Rich: Yeah. We're getting just that natural sort of environment. And then, you know, as we move around the situation, you know, some of these angles are working.

There's enough light. They don't tell the story for me. Male 1: Right. Rich: But I, you know, it's good to always have coverage from the different angles. I like being in the car here. Male 1: Yep. Rich: But you can sort of see some of the environment, and what we're dealing with shooting through windows. We did roll the side windows down rather than trying to. Male 1: Deal with the reflections and all that stuff, yeah? Rich: Yeah, and that's one of those difficult things. And then you can see the environment that we're with. You know? On some of these wider shots here. Same thing there, you know? As the camera moves, we reveal him. And obviously, we're going through some foilage there. Let's just get a clean frame.

We didn't want a total silhouette sitting in the car. Male 1: Right. Rich: So, having more base light in the car really lifts him up. Male 1: Yeah, absolutely. And the thing about this whole scene is that having nice compac lights, having nice wide angle, wide angle lenses, really allowed us to pull this off without being sort of invasive in the car itself. Instead of having to set up big you know you know, practical instruments around the car itself, you know, huge HMIs and hot lights and that kind of stuff. And I think it worked pretty well for the sort of the budget we're going with for the video.

Rich: Yeah. Male 1: And for the look that we're trying to get. Rich: And the producer would absolutely killed us if we started mounting things on her car or hanging things. This is one of those instances we're like. Could we use your car? Yeah. And then it's like wait, what did I just say? Male 1: Yeah exactly. Rich: So, you want to minimize impact and that's the good news, is this compact lighting and shooting in a small space here absolutely worked. Hopefully you guys got some good ideas from this week. Just build out your kit, think about lens choice, think about lighting choices. The more power you can use, inverters, all these things are going to come in handy.

But it's amazing what we could do these days, as opposed to the old style of having to completely fake everything and get on a set. Male 1: Absolutely. And just keep in mind as well that, you know, when it comes to sort of the economics of getting these small lights and these wide angle lenses, don't feel compelled that you always have to buy, especially on the lighting side of things. Check with your local your local grip house and see if they rent some of these smaller instruments, because these are the type of instruments that you're not going to, to be honest with you're, not going to use every single day. So sometimes it's a little more economic to go ahead and rent them. But I think you can see we got some good results with just a few practical small lights and some wide angle lenses.

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