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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.
Rich Harrington: Hi, my name is Rich Harrington. Robert Carman: And I'm Robert Carman. Rich Harrington: And Rob, a lot of folks want to get those tracking type shots where the camera just looks like it's floating through the scene. See it all the times in spots, all the times in movies. Robert Carman: Yep. Rich Harrington: And I think what a lot of folks don't realize, this is one of the hardest shots to pull off. Robert Carman: Yeah, I mean, it's real easy to put a camera on tripod, lock it down, and if it's the fluid tripod, you can still get some nice movement by you know, tilting up and down, panning left and right. But when you start looking at some of the best cinematography and videography in the world, it's all about movement and presenting a nice motivated sense of movement through a scene or around a scene or even in or out of a scene.
And it's difficult to do with the two things that you have already built into your body. Or four things, I should say hopefully. Your two legs and your two arms, you know. Rich Harrington: Yeah and, in fact, a lot of times when doing these walking shots, they're being done by teams of people. Yep. Rich Harrington: One person's moving the camera. Sometimes they're sitting in a vehicle being pushed, or a dolly. Uh-huh. Rich Harrington: If they are walking with the shot, they often have a wireless assistant or somebody running along next to them pulling focus. Robert Carman: Yep. Rich Harrington: Helping keep the shot in there. This is not a simple thing to do, yet for some reason.
I think because they look so cool, everyone's like, I'm just going to go by a slider and I'm going to do this. And they don't realize the complexity. So, we've got a lot of different approaches here, from a budget $30 rig, up to something that costs couple thousand dollars. Down to the middle for a few hundred. We're going to take a look at different alternatives whether you want to walk the camera or roll the camera to get those shots. And then in a future episode, we'll actually talk about how to fix it and stabilize it if you don't quite nail it. Robert Carman: Yeah, absolutely. Rich Harrington: Alright, we'll be right back with walking the camera.
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