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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: A lot of times video is a team sport. And, while we can have 20 people huddled around a little monitor. Robbie Carman: Well, if they're our, if they're the same size as us, it's not really going to work. Rich: No, no. So we, we have some multiple outputs here, right? Robbie: Yeah, absolutely. Most field monitors that you're going to find these days are going to have multiple types of connections. From sort of the ubiquitous HDMI cable and HDMI port, to SDI, HDSDI which is a great connection because it can go really long cable lengths. And you can have audio and video on the cable just like HDMI.
But also you can have analog connections. Rich: Yeah. Robbie: Like component analog connections. So you have various ways of connecting things to the monitor. Rich: This is a lower price one, so we actually have a component. And a composite Robbie: Right. Rich: Video signal here that's just going to go off of a regular, BNC cable. Robbie: Yep. Rich: I do have higher end monitors. We'll use some later on in the production, that are HDSTI. Robbie: Sure. Rich: So there's just different types. The more connections, the more the monitor's going to cost, but I would encourage you to make sure that the monitor you buy has some outs, so you can always change to the next person. Robbie: Yeah, and absolutely, that's essential.
So you might want to have, you know, for example, your DP back here filming with their monitoring, you might want to have a monitor a little further back from them. So you or the client or somebody else can view something like that. And in larger productions, it's not uncommon, Rich, that you might even have dedicated, like viewing tents even. Yeah. Rich: Script supervisor. Robbie: Right. Where you're running long, cable links out someplace that's kind of removed from the set, so people can see what's going on as well. Rich: And they can sit in air-conditioning. Robbie: That's true. Rich: Yeah, yeah. All right, well, that's a lot on monitoring. Hopefully this gives you some ideas on how all the pieces come together, but. Rob, as a colorist, you see problem footage come in all the time? Robbie: yeah.
That's an, that's an understatement. And I think that one of the ways that I always tell people to fix it is, hey, invest in a proper monitor on set, so you can actually see what's going on. And features like peaking and false color, and the ability just to see the image at a larger size are going to avoid a lot of those problems, that you're going to find yourself dealing with later on in post production.
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