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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: So Rob, when we're in the camera settings Robert Carman: Mm-hm. Rich Harrington: normally I'm more of a 1080 guy and I, I have a lot of options for frame rates. It, it varies by camera. But in this particular case if I want 60p, I have to go back down to 720. Is that problematic? Why is that? Robert Carman: No, not really. I mean, the thing about it Rich is that almost every DSLR camera is not going to actually going to offer you a 1080p 60 mode. Well, and I say as of yet, really. Rich Harrington: Right. Robert Carman: But I'm sure that will probably come as processors get better, memory cards get faster. But that's a lot of data to pump through on one of these cameras, so most of the manufacturers.
Rich Harrington: They'd, they'd probably melt, right? Robert Carman: Right, yeah, just melt right before your eyes. Rich Harrington: Okay. Robert Carman: A lot of manufacturers, yeah, they do force you, if you want that higher frame rate, to go back down to a 720p mode. Now, you might say to yourself, well, I'm working 1080, that's not going to work. Rich Harrington: Sure it is. Robert Carman: Sure it is, right. I mean, we can, we can do a lot of things in, in post as, you know, push in on it have our NLE automatically interpret the frame size so it matches the other footage on our timeline and so on, and so forth. So don't be worried about it. The key is that we want to get that higher framerate of 60 frames per second. Now to be clear, you could do this very marginally.
For example, if you were shooting 1080, you shot at 1080p 30 or 2997. Yes, I suppose you could interpret that down to 2398, but. Rich Harrington: Very, very little gain. Robert Carman: Very little slow motion is going to Rich Harrington: Yeah. Robert Carman: happen there. So we want to shoot at that higher frame rate. So, the first thing that you need to do, obviously, besides setting up your exposure triangle, and your ISO, and Rich Harrington: And, and there's a movie for that. Robert Carman: There is, we have some movies for that. Is just to go into your menu settings real quick. And in this case, I'm on a Cannon 7D. And I'm just going to scroll over to my movie settings, and right down here, you'll see an option for movie recording size, right? Rich Harrington: Yeah.
Robert Carman: And if I click there, I have a whole bunch of di-, different options. I'm in NTSC mode right here, so I have 1920 by 1080, 30 frames per second, which is 24-98. 24, which is really 23-98. And then the one I want to chose for today is this one; it's 1280 by 720 and notice it says 60 there, meaning 60 frames per second. Rich Harrington: Now other cameras are going to be a little bit different, but the menu is pretty much the same, I mostly shoot Nikon, I have a choice for this. The key again is that high frame rate. Robert Carman: Right Rich Harrington: And think about it, if you only need 24 frames per second and you've got 60, you have almost two and a half times more frames.
Robert Carman: Yep. Rich Harrington: Now here's the big thing that most people forget about this slow motion stuff: the audio will not be in sync. Robert Carman: Oh you mean wroooo. Rich Harrington: Wroo. Yeah, it doesn't really work. Robert Carman: Yea that's a great point Rich. When you're shooting slow motion like this, there's a couple of key points I think, you know are important to keep in mind on set. First of all, that everybody on set from the you know, you know, the DP to the gaffer, to the script supervisor to the you know, the PA, all know that you're shooting a slow motion shot, right? Getting everybody on the same page about these specialty shots is important.
The second thing is, what you just mentioned Rich, that the audio is essentially going to become. Rich Harrington: Out of Sync. Robert Carman: Out of Sync, right. Rich Harrington: Now there is a work around for some music videos where they want the lips to be in sync, but they want the actual performance to be in slow motion Robert Carman: Right. Rich Harrington: what they actually do is they speed up the audio Robert Carman: Right. Rich Harrington: and lip sync to it really, really fast while recording. But that in itself is a special skill. But we're just doing some B roll here today, right? Robert Carman: Right, exactly, and I think that's really where this technique excels, is in sort of B roll, where you're not really concerned about the audio, you're more concerned about getting that nice, smooth slow motion.
So Rich Harrington: Let's record. Robert Carman: we got the camera set up? Rich Harrington: Yep. Robert Carman: I have a little bit of, ice tea here on the, on the table here. I want you to take control of the camera there. And what I'm going to do is just take this little pitcher of ice tea and pour it as neatly as I can into this glass, and again, we're recording at 60 frames a second so I'm going to take this. Rich Harrington: I'm getting thirsty. And do a little up and down on the pitcher there for slow motion. Oh, that's good. Robert Carman: All right. Rich Harrington: Cool. Robert Carman: Cool. Rich Harrington: And because I'm the type of person that likes more than one take, why don't we get one more for safety.
Robert Carman: Okay, sure. I'll recycle my ice tea here, once sec. Rich Harrington: We're good. We're very conscience here Robert Carman: Rich Harrington: making sure we reuse the props as opposed to pouring it out. Robert Carman: Okay let's try that again. Take two here. Take the same pitcher of iced tea, and I'm going to pour it in. A little up and down here. Alright. Cool. So one of those will probably work, creating a nice slow motion effect. Rich Harrington: Yeah. So, pretty straight forward. We'll go ahead and stop the camera. Robert Carman: Mm-hm. Rich Harrington: We had that as one clip with two takes on the same card.
We could have busted it. But it's pretty easy and now that we actually have a digital file, we're going to jump into three popular workflows. So when we come back, we're going to take a look at Final Cut X, Premiere Pro and then stepping up to something like After Effects, where you have some advanced frame blending Robert Carman: Mm-hm. Rich Harrington: it almost works like a morph. Robert Carman: Yeah, and all three tools, depending on what you're doing or what you have already you know, what tool set you already have, are going to do a pretty nice job at producing that nice smooth, organic slow motion. Rich Harrington: We'll be right back.
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