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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: Alright Rob. There are a brand name for these, and there's lots of knock-offs and lots of others. Robert Carman: Mm-hm. Rich Harrington: But I just call them Gorilla Pods, they're made by Joby. They are one of the first folks to make these. Let's talk about what they're good for. We've got a baby Gorilla Pod. Robert Carman: Shoot, shooting, shooting gorillas? Rich Harrington: No, nope, nope, nope. They're, they. Robert Carman: Okay. Rich Harrington: But maybe if you wanted to videotape gorillas. Robert Carman: Rich Harrington: Actually, to that end, the, they're, they are designed, if you want to have them hanging out of trees, that you could wrap this around something like a tree branch. Robert Carman: Yeah. Rich Harrington: Pretend my arm's a tree branch, pretend I'm a tree, it's a very hippy moment, and it's actually right there, and notice how, an irregular shaped thing, I can create a stable mount point.
Robert Carman: And you're right Rich, there are a lot of manufacturers that make these. And it's called the Gorilla Pods, made by Joby. But it's kind of like the Kleenex vs tissue thing, you know? I refer to them as Gorilla Pods as well, and basically, what there are is, are, flexible tripods, right. Instead of a traditional tripod where you have stiff, rigid legs, we have legs here that we can bend and shape in all sorts of ways. Now, you just pointed out with one of the smaller ones, wrapping it around a tree. But you can position these in lots of unique ways. Hang them. Go really low.
Wrap them around a steering wheel, or whatever it may be. Rich Harrington: Yeah, I actually have two things that I use this one for all of the time. One is right over the top of a doorway. Make a little hook for a doorway. Bend these to go here. Put a head on this. And what you're going to end up with is the great shooting platform to go off of. The other thing I did, this metal one. I didn't think it was going to work, but I decided to go for it. I use this with a Go Pro rig, shooting under water. So I just, you know, put these two arms out like this, and while snorkeling or scuba diving. Robert Carman: You're like a regular Navy Seal. Rich Harrington: It was a MacGyver thing, yeah. It totally worked, and then when I wanted to get extra reach and have the camera lower than me, like when I was running around chasing fish.
I just turn it to like that with one hand, I was able to slowly go under water. So, totally worked. Robert Carman: Now the nice thing about these, too, is that you'll notice that that one's pretty big and beefy and metal, this one is a little thinner and more plasticky. And, the real way that you're going to choose these is based on the weight of the rig that you're putting on it. So, if you're putting on, you know, say a digital Rebel or that kind of equivalent camera with a, a small, little, you know, 50 millimeter lens or something, you get away with a small, light one perfectly well. But if you're putting a, a big lens and a heavy, pro body, you're going to need something like this.
Otherwise what's going to happen is it'll start sinking down. The legs will bend and that kind of stuff. Rich Harrington: Now these are also useful for other gear you might have in your equipment bag. Robert Carman: Mm-hm. Rich Harrington: For example, I've got this, I could take my audio recorder which often has a thread on the back. Robert Carman: Yep. Rich Harrington: And this makes it very easy. So if I needed to take the audio recorder and attach it to my tripod so it didn't get lost or dropped on the ground. Hey look, I've got my audio recorder going with me as I move from location to location. Robert Carman: Uh-huh. Rich Harrington: Or, quickly put that on my belt.
Or maybe I'm not using the built-in mic inputs. I'm using the built-in microphones. I can get that really close to my subject and put it just on the floor or on the table in front of them out of the shot. This makes it really easy for you to adjust these and really get them where they need to be. So, I typically have anywhere from three to five of these in my gear bag for any shoot. Robert Carman: Yeah, and you know, it's great because I mean they, they fold up nice and compact. Tuck that into you know, an extra bag of grip gear. And, you know, it's one of those things, I treat them sort of like, extra batteries or, you know, having an extra tripod plate, right.
They're one of those things that, you might not need them on every shoot, but having a variety of them comes in handy. They also, by the way, come in different lengths of the legs as well, so you can get ones that are a little longer, have a little more wrapping power. Background stuff. But as I mentioned you know, there's plastic ones versus metal ones. Metal ones will just be a little bit more heavy duty and be able to sustain a little bit more weight. Rich Harrington: Alright, well when we come back we're going to take a look at some other types of mounting options for getting the camera in unusual spaces. We're going to talk about car mounting, or mounting on smooth surfaces.
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