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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: Hi, my name is Rich Harrington. Robbie: And I'm Robbie Carmen. Rich: And welcome to this week's episode. We are talking all about slow motion. Now Rob, where do you see slow motion used a lot? Robbie: everywhere? Rich: Yeah, that's a pretty popular technique, music videos, right? Robbie: Yeah, music videos you know, that sort of traditional B-roll montage kind of look. You know, nice cityscapes nature, that kind of stuff. It's a really cool effect and the issue with it is that of course you can do it in post production. You can select a clip that's full speed and slow it down, but that technique doesn't really have the kind of organic feel of an in-camera slow motion.
Rich: Yeah, what's going to happen is you're going to see a lot of blurring or stuttering and it just doesn't look very good. But fortunately, our DSLRs actually can shoot at higher frame rates, right? Robbie: Right, and that's the exact idea, Rich. Is that what we're going to do is we're going to shoot at a higher frame rate. In this case today we're going to shoot at 60 frames per second. And then after we shoot that it's going to look pretty, you know, realistic and kind of. Rich: That's more than Peter Jackson. Robbie: Yeah hyper real, if you will. Rich: 'Kay. Robbie: And then what we're going to do is we're going to bring that footage on to the computer, and then we're going to interpret it to slow it down to a playback frame rate of maybe 2398.
And doing that, what it's going to do is make the footage look like it has a nice, natural, organic slow-motion, and it's going to give you much better results than simply doing a speed change in your NLE. Rich: And I also find, that often times I could push that even further, taking advantage of some of the tools in the NLE or better yet, a compositing tool, to slow the footage down digitally. And when combined with the higher source frames, and that digital slow down, we can get some really cool things. So we're actually all set up here. Robbie: Yep. Rich: We've got a liquid pour that we're about to do.
We're not drinking ice tea on the set, we're actually going to use this to film some slow motion water pours. Robbie: Yep. Rich: Which is a great way to see this. So when we come back. We'll do the shooting stage, and walk you through the menu settings that are typical in most DSLR cameras.
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