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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: When it comes to positioning the cameras, there's a couple of things to think about. First off, it's ultimately about getting the shot, and you have to evaluate how many cameras you have. In this case here, we're working with a decent number. So, we're going to some that are closeup on the artist. We're going to some with the traveling shot. And we're really just making sure that the cameras can get a good angle. Remember, positioning cameras is really going to be two parts. What are the lenses you're working with? Therefore, can you punch in, or do you need to get the camera closer, and what sort of motion are you going to have? We've actually put a slider in here, so we have the ability to get some traveling shots.
Now, one of the things that becomes really critical as you position those cameras, is that the other cameras don't end up in each other's shots. Usually, that behind-the-scenes look where you see all that gear, only works for what we're doing right now, a behind-the-scenes video about how this was made. In the actual production, chances are your client, the artist, doesn't want to see a camera operator in the shot. So you really need to think about positioning things, so you get good coverage without getting in each other's way.
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