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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.
Male 1: Hi! My name is Rich Harrington. Male 2: And I'm Robbie Carmen. Male 1: And this week, Rob, we're talking about lighting without electrical outlets. In fact, lighting without even using batteries. Male 2: How does that work? Male 1: Well, there's this giant light source, that on most days, is out. Male 2: Male 1: Now some days it's gone and certain times of day it's gone and those times of day are called? Male 2: Night? Male 1: Yeah. Male 2: Oh, okay, got it. Male 1: But a lot of times we can actually use the sun. And to do this we have to control the sun. With magical powers, or what do you have there? Male 2: I have a big circle that has some shiny stuff on it.
Male 1: Yep, and I've got another one here that's white. And on one side has a calibration target. But we've got a giant white surface here. And you'd be surprised at how much this can actually bounce light back. And you've got the same thing there, right? Male 2: Yeah, so on this side I have a silver surface and on this side I have sort of a golden surface. And, essentially, these flexi fills are used to sort of shape or bounce the sunlight to a particular subject, and they can be used just as I'm holding to him right now. If I wanted to get some more light on you, Rich. Male 1: Yeah. Male 2: I could just kind of put it towards the light right there and bounce some light right into your face.
Male 1:And it gives me a nice tan from that golden reflection. Male 2: Yeah, and these are great tools to have and they're relatively affordable, relatively cheap. and, you know, you should definitely have them or consider having them in your kit. Because what they allow you to do is, especially if you're in a situation where you kind of have a split exposure. The exposure might look great but maybe on the subject's face things are just a touch too dark still. So what you can actually do is go ahead and use the flexi fill and just bounce a little light into the subject.s face. And make them look, well, nicer. Which is always a good thing with subject. Male 1: Yeah. And besides flexi fills, which usually have to be held or mounted in the stand, we have things called shiny boards.
And on this week's episode, we're going to explore really how to determine where the sun is, we're going to use a cool app for that, and then we're going to use some of these hardware devices to angle the sun into our shot so, Rob, just tell them where we're going to be headed. Male 2: well, we're going back out to the field and we're on set of a music video that we were shooting. And this particular scene is kind of a interesting challenge. The, the, the artist is sitting on a dock playing a song, and we have sort of a mixed exposure. We have the water, we have the dock, we have the sky in the background. And we got things exposed pretty well but we wanted to add a little bit more light to the subject, especially on his face and on the guitar.
And using, you know, flexi fills and shiny boards we were able to accomplish that. Male 1: Alright so let's jump into the field and see how all these tools can be used to get the shot.
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