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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.
So, Rob, it makes sense. We've, we've talked about what the exposure triangle is. I think what will help people really understand it, is if we get our hands on the camera. And let them see through the view finders, we've made some tweaks. Yeah, absolutely. We're going to do that first, here in the studio, so we understand what the different settings do. And as we talked about earlier, we're going to eventually going to go out in the field and put these different parameters into action. So let's dive in. All right. So as you're looking through the camera here, we just have a little still life put up, and there's a wide range of colors. And right now, I'm at a shutter speed of a 50th. And that's the closest shutter speed.
Yeah, and I'll, I'll make one more point about shutter speed, too. You mentioned that we cheat sometimes. I mean, the thing about shutter speed is that, you should generally consider it to be a fixed variable. So, in other words if your shooting 24 frames per second, you want to try to get as close to 1 48th of that shutter speed as possible. And this is something that's a little confusing. Especially if your coming from a still background. Where you've been using shutter speed to sort of control the motion in the shot. Yeah, freezing motion. Right. We don't want want to freeze motion. Right, we don't want to freeze motion. Right, so if you, if, but the thing about it is, if you go to say 1/1000th or whatever, things are going to look really strange when it comes to video, because the higher that number you go, the more sort of staccato motion's going to look.
It's going to look weird. Conversely, if you go down, let's say you have a really slow shutter speed, you're going to get a lot of motion blur, and things are going to kind of look like Jello. Well and the thing to realize too is, well, it's not unheard of for things like time lapse or night time photography to be things like two, three second exposures, you can't do a three second exposure if you're recording 24 frames a second. The fastest that you can do is a 24th of a second. Absolutely so you have your shutter speed essentially fixed here. Yeah, and notice there as I adjust a 30th is the fastest I can go for this and it gets brighter.
And as I change it the other direction, less light comes in. So shutter speed while we say oh, go for a 50th or a 60th. If I was in a really bright light condition and I couldn't get the camera where I wanted. If there wasn't fast movement, I could maybe go to an 80th or a 100th or a 125th. Yeah, just, just be careful with it. Again, because you might potentially get that staccato motion. You might sort of get that, if you go the other way, that motion blur. Just be, just be aware of it, that's an issue. Now, that's fine, we're at 50th and, right here, I'm at 1.8. Very shallow depth of field.
Now, I'm going to need to exit from this view because this particular camera can't change the F stop while we're in. Gotcha. So I'm just going to go here and instead of 1.8, let's go ahead, and we'll go to something a little more stop down. How' bout F4, like a kit lens? Right. So, now what you've done, is you've taken the, sort of, the eye of the lens and made it smaller. So there's less light coming into the camera. And you can see that. Yeah. The image is actually darker, so, here's the thing with this. You're saying, how to yourself, well, I want, you know, a little bit more to be in focus.
But now I've made everything darker. What do I do, Rich? Yeah. Well that's where ISO comes in. This is looking pretty good, right? We have greater depth of field. I've got the proper shutter speed, but it's dark. Well, we can dial in the ISO. And as I brighten that up, the shot gets brighter. But let's punch in for a second there. And you might notice in the blacks a little bit of noise. But the camera's holding up pretty well here at 1200. Yeah, and it's one of those things you have to know thy camera. It's a, it's a commandment I think. Yeah. To know thy camera. And the thing about ISO especially is that every single camera is different.
Now, even with the same camera body. I've owned multiple 7Ds, I've owned multiple 5Ds, multiple Nikons Yeah. every camera's a little different. And Rich, we talked about this previously. A good little test to know your ISO performance of your camera, simply put your lens cap onto the camera, record at different ISOs, bring those, you know, what will essentially be black clips onto your computer and look at the noise structure of them. Yeah well, this is ISO 5000, and while the shot looks beautifully exposed and I can't really see the noise, if we punch in there, you definitely can see dancing pixels.
Oh yeah, tons. Yeah, and that's because ISO 5000, this camera body is a couple of years old, I really wouldn't go there. So, this is where it all comes into play. You have to balance things out. And that's the whole idea behind the exposure triangle. Yeah Rich, and you make a great point too. Is that it's not like you change one thing, and everything else remains static in the exposure. Yeah. Because every parameter effects the other parameters involved in the triangle. So in other words, if you you know have a higher F stop. You go from F4 to F5.6.
Yeah. Well, your exposure's going to change. And you might have to go back to your ISO and compensate and vice- versa. So it's always a little bit of a push and a pull. Or as I take down that ISO, just deciding between a 50th and 60th makes a big difference there. And even there at 40th, you know you can see the shot getting lighter or darker. So it absolutely is a push-pull type relationship. All right well hopefully this makes a lot of sense to you. This is the nice, controlled environment of shooting in a studio where there's a still life, the subject's not moving The lighting conditions are constant.
In the real world, you've got variation - moving subjects, moving lighting sources. There's so many problems. So, for the next three weeks, we are going to jump out into an actual shooting location. And we're going to explore each side of the exposure triangle. We're going to look at aperture. We're going to look at ISO. We're going to look at shutter speed. And we're going to invite our good friend Jim Ball to share some of his perspective. Yeah. Absolutely. And Jim brings, you know, years and years and years of experience, to the table and, you know, it will really put these things into action in the field so you can better understand them.
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