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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: Okay, so you want to get the light off center? Robbie Carman: Mm-hmm Rich Harrington: You really have two things. One thing that I like to pick up is something like this, a real simple y adapter. You can put it on the hot shoe. You know like, well what's that big deal? You just moved it like an inch to the right. Robbie Carman: Hey, it makes all the world. Rich Harrington: It actually makes a difference, and on this one, I could put the microphone for sync sound recording, so I could have both. Robbie Carman: Yep. Rich Harrington: So absolutely, if I'm in a run and gun situation, and I'm trying to be out there by myself I don't have anybody to carry the gear. It's going to stay attached. Now if I do, you know, have a sit-down situation.
Robbie Carman: Mm-hm. Rich Harrington: I have more control, that works. Or just like you sometimes see still shooters, there are times that I'll just take this off and palm it. And keep it in my hand, and raise it out to the side, and direct it where it needs to be to get the lighting, while I'm rolling, preferably with a tripod. I wouldn't recommend one hand, hand holding the camera. Okay, I'm trying to do this, yeah you're going to have shaky shot. Robbie Carman: Well, in, even in fact, Rich, they do make little adapters that you can get a hot shoe adapter for a tripod even. Rich Harrington: Yeah. Robbie Carman: So you could put the little light like this with a hot shoe adapter, or even just a, you know, the, the, the basic screw mount on it directly onto the tripod.
So bring a cheap little, tripod with you on set. Rich Harrington: Yeah. Or. Robbie Carman: Park it, park it near somebody and there you go. Rich Harrington: Pulling out magically. It just happened to be here. You could actually, with light stands, a lot of light stands have a small thread adapter. Makes it very easy. A novel idea. Put the light on a light stand. Robbie Carman: Yup. Rich Harrington: So, you just thread that on, and then it's just like any other light. You know, not as powerful, you know, as a light that you might normally use, but still a quick twirl. It's on the light stand there. I can go ahead and just position that as I need.
Robbie Carman: Yup. Rich Harrington: And let me just turn that, and we'll click this on for the camera. You know, it still puts out quite a bit of light. I regularly will keep these two in my small mobile kit. Robbie Carman: Yup. Rich Harrington: With two lightweight stands, or perhaps a Jo, a Joby Gorillapod. Small, light hooks. And that's enough for me to do a run and gun interview. A lot of times I have to travel, and I am a one-person crew. Like when I'm working on a documentary project. These two lights plus something small like this in my bag will often work in a pinch, cause, provided you combine this with something like a reflector.
Robbie Carman: Now, Rich, going back to another thing I think's important is that obviously we, we can buy purpose-built stuff. We can go to the hardware store But I also want to keep in mind the idea that you can work with other lighting instruments that you might not even think could work. I've had good success, for example, with things like flashlights, right? Rich Harrington: Mm-hm. Robbie Carman: And if you want to filter that flashlight, get some sort of transparent material, put it over the end of the flashlight. So more like you know soft box kind of thing. Bounce it into something. So while there are purpose built, lights for this purpose. You can find other lighting instruments to sort of adapt if you need to.
Like a flashlight. Rich Harrington: And I would say, if you're on a budget, one of the best things you can do for budget lighting, and have a nice pool of light to work under, is going to be doing something like China balls. Just picking up a handful of China balls, very affordable, very easy to do. Don't leave them alone or unattended. There is a reason why when you went to college there were no China ball lights, no lava lamps. These are not the sort of things that you want to leave unattended. But China Ball lighting really reasonable to get. Take a look at a site like Film Tools. They got a lot of good stuff up there. There's other places that sell these.
Really easy way to get nice pools of light, particularly for things like an interview or a music video setting, where you just want to really bring up that ambient light. Now the good news is, is the more you put into lighting the better look you get. Remember, the job of the camera is to not make the shot beautiful, it's to capture a beautifully-lit scene. So taking the time to do that, going to go a long way. I would still have a light that you can mount on the camera, but the more you can get away from that, the better results you're going to get. Robbie Carman: True. Rich Harrington: Alright, well, for lynda.com, my name's Rich Harrington.
Robbie Carman: And I'm Robbie Carman. Rich Harrington: Thanks for joining us.
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