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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: So, Rob, what we want to take advantage here, is make sure that the lens is not getting bad light on it. If the light is hitting the surface of the lens, it's going to refract. It's going to cause all sorts of bouncing around inside. It's going to really cut down on contrast. Male 2: Yep. Male 1: Most of the times, lens flares are a bad thing. People get used to the lens flare effect or the highly stylized ones. Male 2: Yeah. Male 1: But really, almost every case, a lens flare is just going to knock down the quality of your shot. Male 2: Absolutely, and that's where a matte box can really help you.
So most matte boxes are going to have some sort of flagging on them. And if it doesn't come with your matte box, it's going to be at least an option on your matte box. And you can see on this particular matte box, we have a top flag on it, right. So I'm just simply cutting down on the light from the top of the camera. Which is nice for things when you have overhead lights in the studio or something like that. Male 1: Or shooting outdoors with sunlight. Male 2: Right, exactly. Now this particular matte box ups the ante a little bit. You can see here that I actually have a top flag right here, and then over on each side, I have two side adjustable flags. And that's actually an interesting point.
You can adjust each flag independently of one another. So, depending on where the light's actually coming from, you can sort of, sort of shape or customize how the light is actually hitting the front of the lens. Male 1: Yeah, I find that those side flags are really useful when I'm using artificial light. Male 2: Yep. Male 1: Like I'm on set or I've been making adjustments, or I'm lighting a product. Male 2: Mm-hm. Male 1: And we started positioning all the lights on the side and it hits in. Now even if you don't get a matte box, lens flare is still bad. Male 2: Yep. Male 1: I want to show you a cheap solution. So this here is a rogue flash bender.
If you look at it, pretty straightforward. What it is, basically, is designed to go on the top of your flash, and it allows you to bend, and the off-camera flash will go ahead and hit that and bounce it out, and it will allow you to just bounce the light. Well, I use it on the lens itself. So it's got a little velcro strap here. Go ahead and pull this out of the way for a second. Male 2: Sure of course. Male 1: And if I put this in here, I'm just going to go ahead and take this, and sort of wrap it around the lens itself. Take that Velcro strap, and attach it on the side. There we go. And you see here, with the rogue flash bender, it has these little support rods.
So I can go ahead and adjust that. I could bend it up a little bit. And what I'm essentially doing is creating a poor man's flag that allows me to get that protection. So now you sort of see from the side there, same idea. And if there's really harsh side light, I can just rotate that to the side to protect. You just might find yourself having to bend that back a little bit so it doesn't get too far in the shot. Male 2: Yep. Male 1: But it's incredibly useful. And these are just a few bucks at a typical camera shop. Male 2: Yeah. You know, of course, as you mentioned this is something that was originally designed for the photography market, you know? And the thing to keep in mind is that you can actually sort of re-purpose a lot of times, and this is just one example, re-purpose a lot of sort of photography accessories for video.
And it works exceptionally well, and as you just mentioned, it's pretty cheap. Male 1: Yeah. So, there you have it. How to go ahead and control things, through both filtration and blocking the light. After all, if you really want those great looking shots, it's not enough just to have good light. You have to control where the light goes and how it actually hits the camera sensor. Be sure to tune in in upcoming weeks. We have a lot more episodes coming your way. And if you have any feedback or comments, go ahead and post them to the Facebook wall. That'll give us a chance to talk about new topics on upcoming episodes.
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