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Things to Look Out For

From: DSLR Video Tips

Video: Things to Look Out For

Alright so, Rob, the Blackmagic cinema camera, very popular. >> Absolutely true. >> And how long does it take to charge?

Things to Look Out For

Alright so, Rob, the Blackmagic cinema camera, very popular. You pointed out a shortcoming, that I think is important to note. If I'm using the EF mount, is that active, do I have control over the lens? >> You do. And that's a, if you look at a modern piece of canning glass, there's no, aperture ring on it. >> Yeah. >> All of that aperture control happens directly from the camera body, for example, your 5 D mark 2 or 3. You're using that little you know, the aperture control right on the camera body, clicks through the different apertures. >> Now, the, the micro 4 3rds version of this camera, not an active mount? >> It is not.

It is completely passive, or as what people call a dumb mount. Now, for reason that we talked about earlier as an advantage for this camera, the MFT version, you can pretty much adapt anything. Nikon, PL, FD whatever it may be, and you can put it on there. But the thing is when I'm using an MFT, a native MFT lens on here, I can't really use the active ones, because most of the time the apertures is going to be set wide open, and because there's no aperture ring, I can't control. Now here's a fix. >> Yeah. >> There is a fix. You can actually take your canning glass or the MFT glass, put it on a camera that has an active mount.

Step down the aperture to where you want, don't turn off the camera, and then immediately put it on here. So you'd have to carry around two cameras to properly work with some lenses, which is a pain in the butt. That's why I like manual glass on this MFT. >> And I do find this weird, because the Pocket Cinema Camera is an active mount. >> Yeah. >> With a micro 4 3rds. So it's not like they didn't know, which retailer to call and say, oh, we need to order some of those micro 4 3rd mods that are active. >> It's almost like somebody was checking off the checkboxes, and they checked the wrong one. >> Now, now to be fair, they were released at different times, the actual MFT version of the cinema camera was announced around IBC of last year.

The pocket camera was announced, this past year at NAB. So there was three, four months, maybe some amazing development happened with MFT mounts. I don't know, but they are different, which is frustrating. >> I will point out, some of my lenses that are MFT, do have manual controls. As you're shopping, you can find these. They're harder to find though. Now, the other thing that's a benefit and a, two things that are a benefit and a a problem with this, this particular camera, is that because the sensor's actually slightly smaller than, a normal Micro 4 3rds sensor, we have a crop factor of about 2.3.

So it's great on the long end of things. You can, you know, that, that, 80 mill lens, yeah. >> Woo! >> It becomes 160 mill lens. That's great. Really hard on the wide-angle, end of things. The other problem is that, because we're having that crop factor and all that kind of stuff. People are not accustomed to the framing of things. >> Right. >> So one of the things, that I've found that's, that's a downside but one of the benefits is, there are devices that you can use, by a company called Metabones that makes this, this product called a Speed Booster. I've ordered mine. I'm waiting for it. I'm super excited about it.

And it basically allows you to, remove 0.71 time crop, from the lens. So if I normally have 2.3 on this. >> Yeah. >> I put this little adapter in place. I'm back down to a 1.6, which is about the same size as say, my 7D, which is normal framing for me. Which is really nice. And then somehow, through magic, it also increases the speed of your lens by about a stop. Don't ask me how it works, it's magic. You can find those guys at Metabones and the product's called Speed Booster, it's pretty amazing. >> Yeah, we'll be taking a look at that on a future show.

Alright, well, that makes sense. There is something about the Blackmagic cameras that I don't understand, for the life of me, which is that, you can't format the memory when you're on set. >> That is unbelievably aggravating. A friend of ours, I was looking on Twitter the other day, he had gone to Africa to shoot you know, zebras and elephants and all that kind of stuff. And he was hundreds of miles away. Now it is his fault that he didn't kind of realize this or check this. >> RTFM. >> But he fills up his SSD with this beautiful shots of you know, zebras and elephants or whatever.

And only then does he realize, after he fills it up that he doesn't have a laptop, and he can't reformat it. He wanted to delete some bad clips. >> Yeah. >> Can't delete those bad clips. That's one problematic thing. The other real big problem I have, is that, when it comes to battery life, the battery on these cameras are not great. On the partic-, on the big camera, unlike the pocket camera, the battery is built in. >> Yeah. You, you can't buy spare batteries. Right? >> You cannot buy spare batteries. You're going to get about 60 to 90 minutes of battery. Some people are getting two hours of battery.

I have not yet get that. And the thing about that is that, you know, if you're on the field shooting all day, 90 minutes is not going to cut it. So two things I've gotten around. One, I turn off the camera a whole lot. When I'm just, you know, between takes I'm turning it off. >> Yeah. >> The other thing is, realistically, you need to get a battery solution. >> And how do you connect here? What's the plug? >> Right. So it's, down here at the bottom it's a simple, a, a 12 volt. Sort of a plug right here and there's lots of like Switchtronics and a couple other manufacturers are making custom battery packs for the set that can triple, quadruple, maybe even six, seven times your length from the battery.

>> But if you have professional video camera batteries, these almost always have the ability to adapt from one format to another. >> Yeah. >> Sometimes there's a tap on the side. You get a cable. So I, I think what I'm hearing you saying is you're going to need more juice if you don't have constant wall power. >> Absolutely true. >> And how long does it take to charge? >> It doesn't actually take that long to charge. This, I, I would say, it's probably about an hour, hour and a half to charge the internal battery back to full, about, maybe a little longer depending on, you know, temperature and stuff like that. >> So, you shoot for an hour and a half, you take an hour and a half meal break, you shoot for an hour and a half. >> It's like a little siesta, it's, it's totally fine.

>> Alright. >> And I would say the last thing to consider about this camera, you know, here I have it on a tripod. But if I take it off the tripod, one of the things that you can see about it very easily. And this is a, you know, just a small little rig with a follow focus and stuff, is that it's a basic big square of metal. >> Mm-hm. >> And like we do with DSLR, all you want to do is kind of hold it around. Try that, you'll get tired very easily in about two minutes. >> And you bought the Mickey Mouse handles. Right? >> Yeah, I do. You do have the handles that you can put on the side, but my point is, is that this is not a very easily hand holdable camera. You're going to need to think about a rig and you know, special setups.

In this situation easy little tripod setup with follow focus and some rails. But if I'm going out to the real world to shoot you know, my next action movie, I'm not going to want to just use this top handle all around, or I will soon have Popeye arms because I've worked them out so much. >> Well this is very much like a typical cinema camera approach. You are going to be using supports and rigs, so for those of you who are just used to cradling the DSLR and going low and undercover. All of a sudden you're going to start looking like the red guys with all the attachments, because you're going to need them because that's part of this workflow. There is one thing, that I don't know if you call a drawback, but the controls of this camera are the touch screen, and on the back. Right.

>> Yep. >> It's a touch screen monitor. >> Yes, it is. Right on the back. >> And, and, and the cool thing is it actually does double as a, on, you know, on set or in field monitor. >> Yeah. >> Which is pretty nice actually. But the down side of that is, that after a long day of shooting and touching things, you've got all this grease all over your monitor device. >> Not only that, it is, I literally think Blackmagic went out to try to find the most reflective screen material they could possibly find. >> It's like a mirror. >> Now it does ship with this, this little hood, which is nice for something inside like this. I have invested, have not gotten it yet.

Hoodman is actually selling a specific hood for this that extends, probably, you know, eight inches off the back, that is much better at blocking light. >> You know what I want to see somebody make? Like, a hoodie. Like an actual, like, you know, sweatshirt hoodie. >> That just throws right it right over. >> That you throw over your hood. And it's long and extended with, like, little snaps. >> There you go. >> So, you just attach the camera and run around time. >> Yeah, I don't know if my wife would let me buy that, but anyway. The thing about this camera is that, it, it does have some problems. >> Right. >> And I think the pocket camera that we, we'll talk about later, also has some problems. >> But it's an incredible price.

>> It's an incredible performance. >> And it's producing beautiful, beautiful images. And I'm really hoping that a lot of the gripes that we have, you know, with the camera, in terms of, some of the software can be fixed, that kind of stuff. Other things that might not be able to fix until newer versions of the camera come out. Still does have pretty bad rolling shutter, just like your DSLR has, still going to suffer from some moiré. Now Blackmagic has announced the 4K version of this camera, that has a universal shutter that's going to get rid of rolling shutter and stuff like that. It's not perfect, Rich, but I think for two grand, the fact that you get Resolve, ultrascopes, that kind of stuff, it's going to produce some beautiful images.

>> Well, let me just lay it down for you. And this is how I feel about most pieces of Blackmagic equipment. If you buy the first generation of a Blackmagic piece of equipment, you will be buying the second generation. But the price and the performance is so attainable, that you're going to start to get results, you're going to start to work with it. It's just pretty much a given that, like, every NAB or major conference, they're announcing new hardware. They are always doing upgrades to the hardware. They're really aggressive on that front. >> And they, they really are. And they're aware. I mean, I think they, they, they do listen. Like one of the, one of the big gripes that I also have with the camera is just the audio connections.

>> Right. >> It's quarter-inch audio. Who's using quarter, like maybe a guitar player? >> 1970 called back; it wants its headphones. >> Right. Like when you're in the like, you know, you're recording some guitar dude. Yeah man, just plug your jack right in there. It's not XLR, it's not Phantom powered. Other audio problem. The fan on this guy is pretty loud, so I think that all of these collective gripes. Blackmagic is listening and hopefully whether they go back and retrofit some of the problems with the current crop of cameras or they announce new cameras, time will tell when we'll see on that. But there's no such thing as a perfect camera, and thus far I've been pretty happy with the cinema cameras that we have.

>> And I think that what it comes down to is you're getting great looking shots. We've covered the pocket cameras as well. You've seen that episode. You can dig into that if you want. Let's actually bring Jason Massey back on set. >> We've had him, we've been working on a music video with him, he's a great artist. And we're going to have him on set, we're just going to get one more performance, so we can finish Ida's music video. And we're going to put both of these cameras through their paces, so you could see the pocket cinema camera and the regular cinema camera. And let's see what results we get.

Show transcript

This video is part of

Image for DSLR Video Tips
DSLR Video Tips

350 video lessons · 100006 viewers

Richard Harrington and Robbie Carman
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  1. 1m 23s
    1. DSLR Video Tips Trailer
      1m 23s
  2. 2m 23s
    1. Welcome
      2m 23s
  3. 3m 36s
    1. Frame size recommendations
      3m 36s
  4. 15m 6s
    1. Exploring frame rate choices
      6m 16s
    2. Frame rate recommendations
      4m 42s
    3. Mixing frame rates
      4m 8s
  5. 9m 19s
    1. Understanding color loss
      5m 6s
    2. Understanding detail loss
      4m 13s
  6. 12m 8s
    1. Comparing sensor sizes
      3m 43s
    2. Why choose a cropped sensor
      4m 40s
    3. Why choose a full sensor
      3m 45s
  7. 9m 9s
    1. Understanding how DSLR viewfinders react when recording video
      2m 11s
    2. Understanding live view
      6m 58s
  8. 8m 39s
    1. Understanding aspect ratio
      4m 14s
    2. Why shoot 16:9
      4m 25s
  9. 8m 6s
    1. Composition matters
      3m 24s
    2. Exploring the action-safe area
      4m 42s
  10. 23m 7s
    1. Understanding card speeds
      8m 59s
    2. Shooting video
      6m 42s
    3. Shooting time lapse
      7m 26s
  11. 11m 27s
    1. What is rolling shutter?
      5m 50s
    2. Avoiding rolling shutter
      5m 37s
  12. 8m 11s
    1. Moiré explained
      3m 10s
    2. Avoiding Moiré
      5m 1s
  13. 7m 36s
    1. The dangers of tiny screens
      1m 22s
    2. How to set focus before recording
      6m 14s
  14. 9m 32s
    1. Using your HDMI port
      5m 17s
    2. Adapting HDMI to SDI
      4m 15s
  15. 20m 6s
    1. You call this a mic?
      4m 7s
    2. The impact of Auto Gain Control
      4m 34s
    3. The dangers of not monitoring audio
      7m 27s
    4. Using an attached mic
      3m 58s
  16. 4m 44s
    1. Shutter speed explained
      4m 44s
  17. 19m 49s
    1. The Exposure Triangle for low light
      3m 40s
    2. Adjusting aperture
      5m 46s
    3. Adjusting ISO
      5m 24s
    4. Adjusting shutter speed
      4m 59s
  18. 12m 26s
    1. Avoiding lens flare
      2m 8s
    2. Using a lens hood
      2m 46s
    3. Using a matte box
      4m 15s
    4. Exploring other strategies for avoiding lens flares
      3m 17s
  19. 17m 20s
    1. What causes shake?
      3m 23s
    2. Using a stable platform
      9m 27s
    3. Fixing shake in post
      4m 30s
  20. 16m 24s
    1. What are prime lenses?
      3m 21s
    2. Exploring low-light performance
      3m 2s
    3. Working with shallow depth of field
      4m 31s
    4. Examining cost issues
      5m 30s
  21. 11m 39s
    1. What is a matte box?
      4m 2s
    2. Discussing the benefit of filters
      4m 19s
    3. Reducing lense flare
      3m 18s
  22. 14m 19s
    1. What is an EVF?
      2m 51s
    2. Checking focus
      3m 56s
    3. Checking exposure
      3m 28s
    4. Viewing camera settings
      4m 4s
  23. 12m 5s
    1. What is a loupe?
      2m 38s
    2. Proper focus with a loupe
      4m 18s
    3. Proper exposure with a loupe
      5m 9s
  24. 10m 33s
    1. What is a monopod?
      2m 39s
    2. Exploring stabilized shooting
      4m 28s
    3. Exploring overhead shooting
      3m 26s
  25. 13m 48s
    1. Why use a dedicated audio recorder?
      2m 42s
    2. What inputs do I need?
      5m 7s
    3. File formats to choose from
      5m 59s
  26. 17m 6s
    1. Setting levels
      6m 10s
    2. Monitoring sound
      6m 51s
    3. Slating takes
      4m 5s
  27. 6m 22s
    1. Apps you can use to record sync sound
      2m 55s
    2. Adapter cables
      3m 27s
  28. 10m 1s
    1. Why does my exposure change with a zoom lens?
      1m 21s
    2. F-Stop reviewed
      2m 58s
    3. Strategies for dealing with the problem
      5m 42s
  29. 13m 37s
    1. How can I check my focus?
      1m 27s
    2. Zooming in
      3m 14s
    3. Using a target
      3m 44s
    4. Using AutoFocus at the start
      5m 12s
  30. 17m 19s
    1. How many batteries do I need?
      1m 27s
    2. Power or no power
      4m 6s
    3. Other batteries to consider
      6m 35s
    4. Strategies for lengthening battery life
      5m 11s
  31. 27m 29s
    1. What adapters should I carry?
      1m 21s
    2. Adapting audio
      7m 13s
    3. Adapting video
      8m 54s
    4. Power options
      4m 9s
    5. Connecting gear
      5m 52s
  32. 16m 4s
    1. What type of microphone should I use for run-and-gun shooting?
      2m 16s
    2. Built-in microphones
      3m 36s
    3. Shotgun microphones
      4m 27s
    4. Microphone preamps
      5m 45s
  33. 13m 38s
    1. What type of microphone should I use for an interview?
      2m 2s
    2. Lavaliere mic
      6m 35s
    3. Boom mic
      5m 1s
  34. 16m 45s
    1. Why do I need a fluid head?
      3m 6s
    2. Standard photo head drawbacks
      4m 1s
    3. Why use a fluid head?
      6m 9s
    4. Converting a photo tripod
      3m 29s
  35. 13m 34s
    1. Why should I use a slate?
      2m 0s
    2. Using a digital slate
      5m 13s
    3. Using a physical slate
      3m 32s
    4. Alternate metadata
      2m 49s
  36. 10m 42s
    1. DSLR recording time limits
      4m 14s
    2. Legal limits
      6m 28s
  37. 22m 37s
    1. Is the Canon 6D right for me?
      2m 36s
    2. Beneficial features of the Canon 6D
      3m 41s
    3. Drawbacks of the Canon 6D
      4m 21s
    4. Menu options of the Canon 6D
      11m 59s
  38. 21m 17s
    1. The Nikon D600
      2m 38s
    2. Beneficial features of the Nikon D600
      6m 4s
    3. Drawbacks of the Nikon D600
      3m 45s
    4. Menu options of the Nikon D600
      8m 50s
  39. 8m 39s
    1. Can I attach lights to the camera?
      4m 57s
    2. Moving lights off-center
      3m 42s
  40. 18m 4s
    1. How do I get my camera into tight spaces?
      1m 58s
    2. Using GorillaPods
      3m 52s
    3. Using additional Grip Items
      4m 30s
    4. Using a DINO
      3m 50s
    5. Using a Lens Skirt
      3m 54s
  41. 17m 42s
    1. How can I get smooth tracking shots?
      1m 42s
    2. Walking the camera
      7m 55s
    3. Using sliders and dollies
      8m 5s
  42. 23m 1s
    1. How can I fix shaky shooting?
      4m 37s
    2. Fixing shaky shooting in Final Cut Pro X
      8m 54s
    3. Fixing shaky shooting in Premiere Pro
      9m 30s
  43. 15m 18s
    1. How should I manage my cards in the field?
      2m 16s
    2. Using card wallets
      5m 33s
    3. Mirroring your data
      7m 29s
  44. 23m 56s
    1. How do I transfer my footage?
      12m 15s
    2. Monitoring your footage
      11m 41s
  45. 26m 28s
    1. How do I rack focus?
      1m 47s
    2. Using a Prime Lens
      8m 22s
    3. Using a Zoom Lens
      9m 13s
    4. Using a follow focus
      7m 6s
  46. 23m 8s
    1. How do I clean my camera?
      2m 55s
    2. Keeping the lens clean
      7m 48s
    3. Cleaning the sensor
      8m 14s
    4. Performing a wet sensor cleaning
      4m 11s
  47. 23m 58s
    1. How do I get slow motion footage?
      1m 50s
    2. Setting up slow motion in camera settings
      4m 57s
    3. Slow motion in Final Cut Pro X
      6m 17s
    4. Slow motion in Premiere Pro
      3m 57s
    5. Slow motion in After Effects
      6m 57s
  48. 14m 53s
    1. How do I import into Final Cut Pro X?
      59s
    2. Transferring from a card into Final Cut Pro X
      5m 3s
    3. Importing footage into Final Cut Pro X
      8m 51s
  49. 12m 10s
    1. How do I import into Premiere Pro?
      1m 19s
    2. Transferring from a card into Premiere Pro
      3m 55s
    3. Importing footage into Premiere Pro
      6m 56s
  50. 19m 13s
    1. How do I sync sound in post?
      1m 20s
    2. Syncing sound with Final Cut Pro X
      4m 40s
    3. Syncing sound with Premiere Pro
      5m 57s
    4. Syncing sound with Plural Eyes
      7m 16s
  51. 12m 50s
    1. Lighting with available light
      2m 23s
    2. Calculating the sun's position
      2m 7s
    3. Reflectors
      1m 42s
    4. Shiny boards
      1m 31s
    5. Evaluating the results
      5m 7s
  52. 16m 2s
    1. Lighting with alternate sources
      3m 3s
    2. Battery operated LED lights
      2m 15s
    3. Using an inverter
      2m 28s
    4. Using a generator
      1m 19s
    5. Flashlights & GL-1
      1m 28s
    6. Evaluating the results
      5m 29s
  53. 26m 3s
    1. Shooting in small places
      1m 44s
    2. Using portable lights
      8m 0s
    3. Compact lighting
      1m 8s
    4. Lens choices
      1m 31s
    5. Mounting the camera
      2m 11s
    6. Remote operation
      4m 24s
    7. Evaluating the results
      7m 5s
  54. 11m 37s
    1. Follow focus overview
      2m 25s
    2. What is a follow focus?
      2m 38s
    3. Setting the marks
      1m 56s
    4. Operating follow focus
      1m 4s
    5. Evaluating the results
      3m 34s
  55. 13m 57s
    1. Achieving critical focus
      2m 36s
    2. Punching in on LiveView
      2m 5s
    3. Using a loupe
      2m 14s
    4. Using auto focus before the shot
      2m 20s
    5. Using a monitor
      2m 30s
    6. Change the aperture
      2m 12s
  56. 23m 0s
    1. Exposure
      2m 21s
    2. The impact of sensor size
      2m 25s
    3. ND filter
      2m 51s
    4. Variable ND filter
      3m 4s
    5. Matte box
      3m 39s
    6. Evaluating the results
      8m 40s
  57. 10m 29s
    1. Backlit subjects in production
      2m 20s
    2. Shooting "in the middle"
      2m 23s
    3. Overpowering the backlight
      1m 30s
    4. Evaluating the result
      4m 16s
  58. 31m 22s
    1. Backlit subjects in post-production
      1m 54s
    2. Look at scopes
      5m 20s
    3. Enhancing the shots
      4m 51s
    4. Enhancing with Speedgrade
      9m 31s
    5. Enhancing with plugins
      9m 46s
  59. 7m 3s
    1. Audio for interviews
      2m 1s
    2. Placing the mic
      1m 29s
    3. Interview techniques
      1m 36s
    4. Interviewee placement
      1m 57s
  60. 11m 57s
    1. Shooting a product shot
      1m 30s
    2. Building the backdrop
      1m 25s
    3. Compact lighting
      2m 59s
    4. Cleaning the object
      1m 16s
    5. Using a macro lens
      2m 25s
    6. Using a turntable
      2m 22s
  61. 9m 8s
    1. Using a field monitor
      1m 44s
    2. Connecting the monitor
      1m 19s
    3. Using peaking and using focus in red
      1m 36s
    4. Using color assist
      2m 34s
    5. Looping the monitor
      1m 55s
  62. 13m 25s
    1. Scopes
      3m 37s
    2. Reading the histogram
      2m 11s
    3. Reading a waveform monitor
      2m 38s
    4. Reading a vectorscope
      4m 59s
  63. 30m 59s
    1. What is a GoPro?
      2m 35s
    2. The GoPro bodies
      3m 53s
    3. Essential GoPro gear
      9m 0s
    4. Powering the GoPro
      6m 13s
    5. Accessing GoPro menus
      3m 34s
    6. Essential menu commands
      5m 44s
  64. 9m 2s
    1. Exposure
      1m 1s
    2. The exposure triangle
      2m 40s
    3. Evaluating the settings
      5m 21s
  65. 15m 48s
    1. What is aperture?
      3m 29s
    2. A DP's perspective on aperture
      45s
    3. Adjusting aperture
      2m 14s
    4. Evaluating the shots
      9m 20s
  66. 14m 4s
    1. What is shutter speed?
      3m 58s
    2. A DP's perspective on shutter speed
      1m 37s
    3. Adjusting shutter speed
      2m 54s
    4. Evaluating the shots
      5m 35s
  67. 18m 12s
    1. What is ISO?
      5m 12s
    2. A DP's perspective on ISO
      1m 52s
    3. Adjusting ISO
      2m 49s
    4. Evaluating the shots
      8m 19s
  68. 7m 41s
    1. Controlling exposure beyond camera settings
      2m 44s
    2. Adding light
      2m 54s
    3. Adding filtration
      2m 3s
  69. 19m 27s
    1. Getting the camera higher
      2m 26s
    2. Using a monopod to extend your reach
      2m 46s
    3. What is a jib?
      3m 33s
    4. Operating a jib
      6m 21s
    5. Evaluating the shots
      4m 21s
  70. 18m 14s
    1. The Blackmagic Pocket Cinema Camera
      4m 38s
    2. What to look out for
      5m 3s
    3. Pocket Cinema Camera workflow
      3m 51s
    4. Evaluating the shots
      4m 42s
  71. 17m 15s
    1. Shooting with a GoPro mount
      5m 14s
    2. Connecting a GoPro remote
      2m 46s
    3. Viewing with a remote app
      3m 48s
    4. Recording with a remote app
      3m 11s
    5. Evaluating the shots
      2m 16s
  72. 14m 15s
    1. Using a click track
      1m 28s
    2. Creating a click track
      5m 10s
    3. Playing a click track in the field
      36s
    4. Recording with a click track
      53s
    5. Syncing in post
      6m 8s
  73. 7m 5s
    1. Preparing for a shoot with multiple DSLR cameras
      2m 10s
    2. Scouting the location
      1m 16s
    3. Lighting for multiple cameras
      48s
    4. A DP's perspective on multicamera lighting
      1m 56s
    5. Matching cameras
      55s
  74. 5m 21s
    1. Doing a shoot with multiple DSLR cameras
      2m 21s
    2. Positioning the cameras
      1m 2s
    3. Syncing the cameras
      1m 2s
    4. Directing the shoot
      56s
  75. 16m 59s
    1. Achieving a film look
      2m 36s
    2. Post-processing to achieve a film look: Part one
      7m 20s
    3. Post-processing to achieve a film look: Part two
      7m 3s
  76. 28m 47s
    1. Black Magic Cinema Camera
      3m 44s
    2. Things to Look Out For
      9m 41s
    3. Recording with the Blackmagic Cinema Camera
      2m 15s
    4. Focusing
      3m 17s
    5. Evaluating the Shots
      5m 12s
    6. RAW Workflow
      4m 38s
  77. 15m 50s
    1. Achieving a film look
      2m 28s
    2. Post-processing to achieve a film look: Part 1
      8m 45s
    3. Post-processing to achieve a film look: Part 2
      4m 37s
  78. 18m 58s
    1. Shooting time lapses with a GoPro
      2m 25s
    2. Setting up the GoPro
      4m 30s
    3. Accessing the footage
      4m 52s
    4. Processing the footage
      7m 11s
  79. 21m 21s
    1. Why assemble a time lapse?
      1m 59s
    2. Assembling a time lapse in Photoshop
      6m 36s
    3. Assembling a time lapse in Premiere Pro
      7m 43s
    4. Assembling a time lapse in After Effects
      5m 3s
  80. 22m 40s
    1. Processing multiple-camera footage
      1m 42s
    2. Organizing the media for Adobe Premiere Pro
      5m 36s
    3. Syncing in Adobe Premiere Pro
      6m 20s
    4. Editing in Adobe Premiere Pro
      9m 2s
  81. 15m 1s
    1. Processing multiple-camera footage
      1m 8s
    2. Organizing and syncing media for Final Cut Pro X
      5m 13s
    3. Editing in Final Cut Pro X
      8m 40s
  82. 21m 56s
    1. How do I get a GoPro in the air?
      2m 1s
    2. Attaching a GoPro to a quadcopter
      2m 23s
    3. Calibrating the quadcopter
      2m 13s
    4. Flying with the GoPro on the quadcopter
      3m 48s
    5. Evaluating the quadcopter footage
      5m 49s
    6. Getting more control with the quadcopter
      5m 42s
  83. 15m 58s
    1. Sliding the camera
      3m 1s
    2. Tabletop dolly
      3m 8s
    3. What is a slider?
      3m 55s
    4. Using a slider
      3m 32s
    5. Slider versatility
      2m 22s
  84. 13m 14s
    1. Shooting with an iPhone 5S
      2m 58s
    2. Shooting slow motion
      3m 11s
    3. Accessing footage
      3m 17s
    4. Assembling footage
      3m 48s
  85. 16m 9s
    1. Benefits of mirrorless cameras
      2m 48s
    2. Mirrorless workflow
      2m 41s
    3. Things to look out for
      6m 10s
    4. Evaluating the footage
      4m 30s
  86. 26m 6s
    1. What is Log?
      2m 40s
    2. Why should you shoot Log?
      6m 7s
    3. Using a LUT with Dynamic Link
      8m 11s
    4. Creating a LUT in Adobe Speedgrade
      9m 8s
  87. 30m 34s
    1. Matching cameras
      1m 58s
    2. Variables
      4m 22s
    3. Calibration
      8m 42s
    4. Evaluating the shots
      3m 5s
    5. Matching Log footage
      6m 30s
    6. Matching ProRes
      5m 57s
  88. 11m 39s
    1. Achieving a film look
      3m 7s
    2. Using Resolve presets
      4m 29s
    3. Color grading from scratch
      4m 3s
  89. 19m 1s
    1. Achieving a filmic look
      3m 58s
    2. Using Speedgrade presets
      7m 34s
    3. Color grading from scratch
      7m 29s
  90. 11m 48s
    1. Remotely controlling a camera
      1m 34s
    2. Attaching a CamRanger
      2m 38s
    3. Creating a network
      4m 50s
    4. Controlling with an iPad
      2m 46s
  91. 10m 49s
    1. Taking a look at shaky footage
      1m 45s
    2. Fixing shaky footage in Final Cut Pro X
      3m 18s
    3. Fixing shaky footage in Adobe Premiere Pro
      5m 46s
  92. 14m 46s
    1. A quick overview of site surveys
      1m 25s
    2. Anticipating the weather
      3m 11s
    3. Taking panoramic site photos with Occipital 360
      3m 46s
    4. Collecting location information with PanaScout
      2m 48s
    5. Portable and mobile pro audio to go
      3m 36s
  93. 24m 54s
    1. Taking a look at third-party plugins
      3m 21s
    2. Exploring Tiffen Dfx Filter plugins
      6m 59s
    3. Boosting creativity with Tiffen Dfx Looks
      4m 3s
    4. Exploring the Magic Bullet Suite
      5m 45s
    5. Taking your footage further with Magic Bullet Looks
      4m 46s
  94. 9m 1s
    1. Scouting the lighting situation out on location
      1m 10s
    2. Using Lighttrac to determine sun or moon position
      2m 12s
    3. Using Sun Seeker to track sun or moon position
      3m 2s
    4. Determining the position of the sun or moon with Focalware
      2m 37s
  95. 2m 30s
    1. Goodbye
      2m 30s

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