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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: The car doesn't have a lot of room. And of course, there's lots of shooting situations where things are relatively tight. Robbie Carman: Yeah. Rich Harrington: So, what type of lens would you use? Robbie Carman: I don't know. Maybe, like a 200 to 400 telephoto. Rich Harrington: Oh, absolutely. Robbie Carman: Rich Harrington: Really compress the space. Robbie Carman: That would really work well in the car. No, in all seriousness, when you're in tight spaces, we're really just talking about wide angle lenses, and generally speaking, as wide as we can go. Rich Harrington: Yeah, and there's lots of choices here. I mean, you might find yourself being on the high end, at 35 mm, but you can go much wider, 12 to 24, a pancake lens, even things like the Go Pro.
We're going to take advantage of this guy here. It's got a wide angle built in. Now the nice thing is, is that this is the Hero3, the newer one. Robbie Carman: Uh-huh. Rich Harrington: I could turn the wide-angle lens off and punch in so it's not quite so fish-eye. Robbie Carman: Yep. Rich Harrington: But we can use the fish-eye type lens on here and that even can be fixed in post, right? Robbie Carman: Absolutely. You can do lens correction in post to fix that. And the other thing I was going to add to is that, especially when you're in a car, I like to have both a zoom wide-angle lens, maybe something like 11 to 25 or. You know,, somewhere in that low-end range, as well as a prime.
Because the primes I'm often going to use on a car does wide-angle primes, and I'm shooting at night when I need as much light in as possible, but when I'm in the day scene or have proper lighting in the car, having a little push and pull, you know, being able to zoom and zoom out is kind of an important thing as well. Rich Harrington: Yeah it makes it easier so you don't have to keep constantly re-positioning the camera. All right, so let's go ahead and get both of those cameras placed. We've got a DSLR going in the car. We've got the GoPro, we're going to get these all set up and then we'll get ready to roll
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