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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: All right, we're just about ready to shoot. We've brought Jason Massey back on set. Jason's been a very talented musician that we've been featuring throughout the show, and he's been recording a music video with us. And we're just about ready to roll. We've actually got three of the Black Magic pocket cameras set up. Rob, what have you got there? Robbie Carman: Well, I've got a little Black Magic pocket camera, obviously. I have an Olympus 75 mil lens on it now. One of the things that we didn't actually talk about when we were talking about the pocket camera earlier, is it actually has a pretty severe crop factor. Now, on this camera, I have an Olympus 75 mm micro 4 3rds lens, right, which all sounds good 75 mm nice for portrait.
Guess what. It's not 75 mil on this camera. What's the crop factor on this camera? Rich Harrington: According to the interweb? Robbie Carman: Yes. Rich Harrington: 3.02. Robbie Carman: Whoa. Rich Harrington: I don't know what the 0.02, why they bother with the 0.02 but essentially three times, so that's like a 2.25. Robbie Carman: That is a huge, huge, huge difference. Rich Harrington: So this lens here is essentially a 900 millimeter lens. Robbie Carman: Yeah. It's amazing. So you have to be very careful. It helps you in the long end immensely, right? When you want to get those nice portrait shots, nice telescopic shots Where it's really difficult obviously is on the wide end.
That nice big establishing shot. And the problem that I have is that we call this the cinema camera. And when I think cinema camera, I think huge, wide, you know? Really immense looking shots. Very difficult to get on this camera. Now. Rich Harrington: About the widest micro 4 3rds lens you can get is a 12 millimeter lens. You can find some of those, but make sure you just keep an eye on that. You're going to only be able to go so wide. I, I have seen some eight-millimeter macro filters. Robbie Carman: Right, right. Rich Harrington: Those have been, but again, it's only at 24. Robbie Carman: Yeah, so I mean, the thing is, you just have to put special thought into that.
You're either going to have to back up to get a little bit more in view, but it's not going to give you that same field of view that you would get with a true wide-angle lens and we've been here before. Rich Harrington: Yeah. Robbie Carman: We had this when we first went to the crop factors on DSLRs. Rich Harrington: Yeah, those are like 1.6. Robbie Carman: Yeah, 1.5, 1.6, everybody was going, whoa, my 50 mil is no longer 50 mil, same factor here on the smaller camera. It's just much more severe. Rich Harrington: All right. Well, that camera's set up. We've got a couple of more ready to go over here. I've mounted this one onto a boom. And, what did I put on there? Yeah, I put on a 25 millimeter, so it's essentially behaving like a 75.
Robbie Carman: Yep. Rich Harrington: So, you know you could actually, you'll get a chance to look at that shot. It looks like a beautiful portrait shot. And it's like, it's a 25 millimeter lens. Oh yeah, that's a 75. Robbie Carman: Right, right. And so then on this guy we have a 14 to 140 zoom. So we can go from pretty wide. You know about that, you know 35, 40 range. Rich Harrington: Yeah. Robbie Carman: Up to a real pretty severe telephoto. And then on this one, I got a 75, which is going to be nice for things like hands, face expressions, that kind of stuff. Rich Harrington: Yeah. And as we're getting ready to shoot here, couple of choices here. We did make sure that these lined up. We will talk about matching cameras more in the future.
But if I look at this, I see we're all at 24 frames, we're recording ProRes. Robbie Carman: Yep. Rich Harrington: I got 180 degree shutter angle. Robbie Carman: Yep, good. Rich Harrington: 5600K. Robbie Carman: Yep. Rich Harrington: And we're also shooting film mode on all of them for the color space. Robbie Carman: That's right. Rich Harrington: Alright, well, we've matched the cameras as close as possible, which is a really good idea when you're going to be shooting on multiple cameras. And of course, you can always do a little post processing later, but why don't we go ahead and start to shoot. Robbie Carman: Absolutely, sounds good. Rich Harrington: Alright. All right, so the old men are done hurting their backs. I think it's time we head down. Robbie Carman: It's my knees. Rich Harrington: Oh, is it? Robbie Carman: Yeah. Rich Harrington: It's my back.
So we're going to head down and take a look at some of the footage back in the studio in a few minutes. And we'll just walk through how it all turned out.
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