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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's Rich Harrington. Male 2: And I'm Robbie Carmen. Male 1: And we're about to kick off a series of one of my favorite topics, which is multi-camera production. Male 2: Yeah, you, I mean, you just have this thing, where as many cameras as you can get in a room, the better. Male 1: I think it comes back, when I started my career, I was in broadcast news, and I did a lot of directing for several years. And what we had with that was we were able to have, you know, coverage with six, nine, sometimes in sports, 20 cameras. I just got used to having all those different angles to tell a story and I liked it.
And the good news is, is now that the cost of cameras have fallen, this has gotten a lot easier. Male 2: Yeah. I mean, you see all the time, especially on really big budget, projects, where they'll just go out and you know, buy 20, you know, Canon 7D's or something like that and string them up. All across the room, and the thing I really feel really passionately about and agree with Rich about, is that having more coverage is generally a good thing thing. Just don't over, overdo it, or your editors will probably end up hating you. Male 1: Yeah, we don't need a reverse angle of the reverse angle of the back of someone's head.
Male 2: Right like, when we shoot through the LCD or I'll shoot that guy shooting that LCD, and so on and so forth. That doesn't work really well. Male 1: No, no. But this week, we're going to explore the first part of the process, which is. We need to make sure we understand the venue we're going to be shooting at, and how we're going to work with the lighting. So, we're going to head over to Iota Club and Cafe, which is a great venue in Arlington, Virginia. Male 2: Great music spot. Great food, too, by the way. Male 1: Yeah. Male 2: And yeah, we're going to explore the room. We're sort of going to scout it. Understand what's going on, and where we can hang lights. Where crew needs to be positioned and that kind of stuff, and then we'll jump into talking about actual lighting and setting up the room because it's an interesting space.
It's a pretty medium size, big space. Male 1: Yeah. Male 2: But like a lot of, you know, venues and clubs there are things that the owners don't want you to do, or okay with doing. You can't put a light there. You can't put a light there. That kind of thing and so we'll talk about some of those constraints as well. Male 1: Yea, there's some distinctive features to this venue that were going to want to work with and some existing base lighting. And were working with DP Jim Boss. So let's step out into the field and were going to take a look at the space and also get Jim's perspective on how to get the best overall lighting for the venue.
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