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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: Hey there. I'm Robbie Carman. Rich Harrington: And I'm Rich Harrington. Robbie Carman: And welcome back to another installment of DSLR video tips. And Rich, this week it's all about getting the camera up high. Rich Harrington: Yeah, and this is a cool technique because it's going to really change the emotional response that your audience has with the footage. By putting the camera higher, essentially what you're doing is you tend to change how people are looking at your subject. We're going to do it in the context of a music video. And in this case Rob, I think there's really two techniques right? We're going to use two different pieces of hardware, rather than just standing there holding a camera over our head.
Robbie Carman: Hey, look at me, I got a camera. Yeah, no absolutely. The first one we're going to take a look at is using a trusty monopod, and the monopod obviously is used to sort of stabilize the camera when it's on the ground. But we can also use a monopod just to, you know, when it's stuck to the ground to get our camera up higher. But we can also do things like this, holding it up and getting it above the scene. And that's what I sort of refer to as the poor man's jib, right? Rich Harrington: Yeah, it's kind of like a boom pole. So like, just like they might use a boom pole to extend the reach of mic, you could boom pole this. And if you do it right, you could brace it on your hip, extend it up, and use your whole body to move.
You can get some pretty decent shots. Or if you're in a crowd you just need to shoot over the tops of heads. This certainly is a workable technique. But of course that, the crown jewel that everybody wants, Robbie Carman: Is the jib. And this week we're actually going to go out into the field to the set of a music video that we've been working on. And we're going to talk to DP Jim Ball about actually constructing and building a jib system, and then the very, I would say interesting, techniques of operating the jib. It's not something that you can just go out, build, and all of a sudden you're a master of.
And Jim will sort of give us some tips and pointers about how to best use the jib. And the thing about a jib I'll just point out too, is that there are multiple sizes, different uses of them, that kind of stuff. So the one that we're going to use in the field this week is a pretty sophisticated, high end jib, but you can find jibs in all sort of shapes and sizes and budgets and that kind of stuff. And as Rich pointed out, jibs are going to give you, because you're getting the camera up high, but also because you're also able to move the camera, horizontally and vertically, are going to give you a much more dynamic look to the shots that you're recording. Rich Harrington: Yeah, clients love this and the type of jib we're using is a Porta-Jib, it's designed to be operated by a single person or a two person team.
But of course jibs come in all sizes. The big thing here to realize is that you don't have to buy this equipment. Robbie Carman: No. Rich Harrington: You often can rent this equipment or find an operator in your local market, so let's see how we get the camera higher to get better shots.
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