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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.
Alright we are looking at the micro 4 3rds cameras. and, Rob, earlier you mentioned a point which is just the size of these cameras. >> Yeah. >> I love the versatility here. Now, I'm going to walk over and actually grab a new lens. >> Okay, sure. >> And I just want to point something out, this lens, Rob, what do you think this is? >> well, it kind of looks like maybe like a 70 to 200 or somewhere in that range. >> Yeah, it's pretty light. >> Yeah. >> It actually is a 75 to 300, but on the micro forth thirds it behaves as a 600-millimeter lens.
>> That's an important factor to keep in mind, we've talked about crop factor >> Yeah. >> On image sensors before, right? When you go from that 35 millimeter sensor on down, what you're doing is you're cropping in thus, extending the length of a lens. So, for example, if a lens is marked 50 millimeters, and it's on a 1.6 cropped sensor, it's 50 times 1.6. Now, in these guys, it's about two. >> Yeah. And they even say right on there, you know, basically, oh, this is the equivalent of 150 to 600 millimeter. >> Right. >> And I'm going to tell you, I took this kit down to Costa Rica with me.
I had previously shot American Bald Eagles up in Alaska with this. A 600 millimeter lens, normally on a DSLR would be >> It's one of those bazooka lenses that you always see people filming with, right? You know, they're three feet long, the lens barrel is this wide, they weigh 15 to 16 pounds. >> You have a dedicated monopod. >> Oh, by the way, they cost $20,000. >> Yeah. >> And he is not exaggerating I can't remember what I spent on this but I guarantee you, it was not $1,000. And to have that length is amazing.
And, in fact, all of these lenses, because they're smaller, and it's actually kind of designed as a prosumer format. >> Right, right. >> The lenses are really affordable. >> They are and that's a real plus. The one negative about it though, Rich, is on the wide end of things. >> Yeah. >> It's because you have that crop factor, anywhere from 2, 2.3 Something like the black magic pocket camera. >> Yeah. >> Even up to a crop factor of three you gotta be careful with that because on the long end its great on the short end of things when you want to get a nice wide sort of cinematic feel of a shot you gotta go really wide eight millimeter, 12 millimeter, somewhere in that range to get even a remotely wide shot.
>> Well here's a pancake lens. >> Yep. >> That's actually 15 millimeters. >> Yep. That's a like a lens cap lens. >> LAUGH Yeah. >> This is a 14 millimeter lens. >> Yeah and this I would put in the laundry like it would just go through my pocket and forget that I have it there you know. >> Yeah that's basically what I put on the camera instead of a lens cap so there is always something there. >> Yeah. >> But it totally works you can get 12 millimeter lenses there are people starting to make eight millimeter lenses but yeah you can't go that wide although. That's why we got the GoPro. >> I mean, here's the thing also though people ask us all the time, Rich, is well I understand that this mircroforth system and how it works but shouldn't I be shooting on a bigger sensor and what it comes down to is they somehow feel inadequate that they're shooting on the smaller sensor.
And here's my thing about it is that yeah you're not going to get potentially some of the benefits of a larger sensor like a 35 millimeter or an APSIC. In terms of depth of field perhaps or its sensitivity to light. Being able to capture as much light. I found that these cameras, especially something like this GH3 and this Olympus you have, they produce wonderful images that I think some people sometimes describe as being sort of 16 millimeter. >> Yea. >> Super 16. Like in their feel. >> They feel very filmic. They've got great overall look, they have wonderful in-camera settings.
I love what the GH3, this camera shoots ABC HD. Now show me a DSLR that shoots ABC HD. It's basically the same quality of sensor as what I have in those AF100s that we're using to shoot this course. >> Yeah. >> And I love having that flexibility. It shoots movies, MPEG-4 and AVCHD. Wonderful flexibility. >> Yeah, it's really flexible. Now, it might not be for everybody. You know, I do like shooting in my, my Canon or my Nikon. And one of the reasons I like that, is because, I can film, or I can shoot stills. Now, I know what your going to say.
That. Hey you can still do that on, on these cameras, and you can. But not every mirrorless camera is going to be that way, for example, the Black Magic pocket camera, is just a video camera, right? >> Right. >> You're not going to be able to shoot stills. So you have to keep in mind, when you're looking on a lot of the mirrorless cameras Some of them are dedicated video-only cameras and some of them are hybrids. >> Well the good news is, is with the GH3 and the Olympus, they're both quite capable of shooting stills. I've also shot time-lapse on them, they do a really solid job. One of the things I like, I've got seven stops of bracketing on this to shoot HDR.
>> Yeah, it's cool. >> So it's really quite versatile and compared to a mirrored camera It's actually better for time lapse and DSL, and HDR shooting because the mirror's not going up and down and flapping. So the camera doesn't have any vibration or shake >> No vibration, right. >> So there are pros and cons, but, why don't we actually go ahead and shoot with these, and give you some idea of what the video looks like. We're going to go ahead and roll on the black magic camera, we're going to roll on the GH3 We're going to roll on the Olympus. And we'll take a look at all the footage and sort of see what they look like out of the camera. And then, Rob, you'll go ahead and try grading them and we'll see how they hold up to some manipulation.
>> Sounds good. >> Alright. Let's get shooting.
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