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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.
Robbie Carman: So Rich, we're here back in the studio, and we've got some shots that we have recorded out in the field showing some different techniques about getting the camera up high. We have monopod, we have a jib shot. Let's go ahead into Premiere Pro here and take a look at some of the shots. Rich Harrington: Yeah, on the left here, you were operating the monopod shot and you were sort of off to the wings. Now, while these look like lower angles, you were actually shooting from the floor so the fact that you were able to shoot up at an angle, get the performer and get even eye-level with him, means that you're able to extend the reach and you know Rob, in order for you to be eye level at him, the camera was at a good six feet.
Which, of course, you could be holding it there the whole time but, after what, seven takes of a song? Five minutes I don't know, can, I can't hold a camera for a half an hour at that position. Robbie Carman: And when you factor in the fact that I'm four foot three, yes, I was actually able to get the camera up much higher. And yeah, this was kind of cool, I actually used this very tri, monopod right here. And the cool thing about this monopod is that it actually has a little ball-foot here that kind of looks like, well, a tripod. Rich Harrington: Yeah. Robbie Carman: And the cool thing about this is that, as you go through that, I was on a head that I could move up and down, but I could also do this kind of movement with it as well.
Rich Harrington: Yeah. Robbie Carman: That made it feel that, even though I was getting up high and I was getting some stability, it made it feel like the shot was moving all the time. Which for this music video is the kind of look we wanted. Rich Harrington: Yeah and I, you're seeing that right here as you're sort of moving through the shot and chasing the guitar and following the action. And so, unlike a tripod which sometimes feels a little more locked down, you had a lot more movement here, and it was much more organic and I really like how you, especially when it was getting there into the guitar. Robbie Carman: Yup. Rich Harrington: You had the perfect angle of as he was banging out on the guitar, letting him tell that story.
And it worked out really well. And, as you said, a very fluid shot. Robbie Carman: Yup. Rich Harrington: Now, this was a budgetary technique. You know, a monopod is not an expensive piece of gear. The flip side is, we went out and we also had the Portagym. And as you saw Jim building it, the nice thing here is that he was able to get the camera way high. At this point he's about ten feet in the air shooting down on our subject. And it's even floating in and out in the environment. Robbie Carman: And this is really nice, too, because, again, it's going to give you those more of those dramatic, sweeping type shots.
I'm sure all of you have seen from one time or another in your favorite movie, that nice shot that kind of swoops in on somebody, or a scene or action. And this jib allows you to do that. Now, as Jim explained earlier, it's kind of one of those things where you need to have some technique. And my personal opinion about operating a jib is don't overdo it. It's really distracting if you're doing these huge sweeping movements all the time. And what Jim's done nicely here, and I think you'll agree, Rich, is that it's nice, motivated, slower type movements where the camera's always kind of just kind of moving around a little bit.
We're not making huge arcs and that kind of stuff. Rich Harrington: Yeah, I really like how we're lifting off of the speakers and the amps here you know, and we're revealing our subject. We're getting a sense of the space, and I like how the camera just sort of drops in and out. It really has this nice feeling. It makes the room feel more three-dimensional, and it just gives us sort of a better sense of the energy of the performer. Now with the jib, sometimes it's hard, like you see we're getting a little overshoot here into some of the adjacent items there. There was seeing into the next room. So as you're doing the jib, it's a little bit difficult sometimes, and you can't make the only angle a jib, because what's going to happen is there's going to be parts of the shot where you go, yeah, that doesn't work.
Robbie Carman: No, absolutely, and that's, I think, one of the things that you, you'll learn, especially when using a jib, but also on the subject matter, like a music video, this is why it's so important to do five, six, seven, eight takes. Rich Harrington: 30. Robbie Carman: 30, if Rich is the director. And really kind of get these movements, because you're not going to have it as one continuous take. I mean, if you were the best jib operator in the world, I suppose you could have one continuous take. But you know, cutting together those different segments is going to definitely be useful. Rich Harrington: Alright, well I'm really happy with the end results we got here, both from sort of the, the budgetary approach of using the monopod, but with the nice sort of flexibility there.
Adding that tripod foot on it is going to make that even easier, but even a regular monopod is going to make it simple for you to rock it from side to side. And then, of course, if you can pull out all stops, go for the jib. Jibs come in a variety of sizes and styles, but you can often find one that will fit. Particularly if you look at it as a rental item. And I really think you're going to get some great results.
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