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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.
One challenge with a backlit subject is getting proper exposure. Now, I'm here with VP Kevin Bradley, and we're taking a look at the shot, and, we properly exposed for the outdoors, right? Kevin, as we look at the shot, everything's fine outside, right? Yeah, the outside is properly exposed, but everything else is under. Yeah, so you kind of have a choice here. You could decide to expose for the inside. And, if we did that, why don't you go ahead and open it up a little bit, either with ISO or aperture, whatever you want. So we're opening, ISO 640.
Alright, and while we've got a decent exposure here for him, the window is totally blown out. So, Kevin, if, we really have two ways of solving this, right? If we wanted to fix this, we could decide to modify the lighting. Yeah. We could modify the window. Yep. Of course, sometimes we have no time, and so if you don't have time to fix the lighting, or fix the backlight, what would you do exposure-wise? Well, in this day and age, cameras are starting to get a lot more dynamic range, but the reality is just they're not there yet.
The sun is a lot brighter than any artificial light you're going to bring onto the set. So our choice here really is to go for the ugly middle. In other words, let's make sure that the window is not blown out and our subject isn't a silhouette. So, Kevin, why don't you find a shot that doesn't look great, but still has highlights and still has shadows. Sure. And, by making this adjustment, what we can end up doing here is pull off a shot that is not so great in the field, but when we get to a post-production environment, I'm just going to make it Robbie's problem, and I'm pretty sure he could fix it.
Can you play about 30 seconds for us? Okay, great. Now we got the shot, and I know Rob is awesome. He's going to make it look good in post production. But, if Rob wasn't fixing this shot, I'd be kind of nervous to hand this off to somebody else. I wouldn't shoot this. Yeah. So we're going to come back and we're going to show you how to get around the fact that there's too much back light. We either need to add or subtract.
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