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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.
Robbie Carman: Now, Rich. Oftentimes we'll be in situations where we need to say, shoot through a window or another piece of glass. And traditionally, this is a little problematic, without you know, doing some special treatment on the glass itself. Rich Harrington: Or polarizers. Robbie Carman: Right. It's particularly problematic when you have a little bit more of a big rig. You're going in with a Matte box that has, you know, flags on it, it's hard to get close to the window. All sorts of stuff. And you have a cool product here that I think is definitely interesting for shooting through glass, but also in tight situations where you want to minimize reflections and glare coming off glass.
Rich Harrington: Yeah, one things I like about this here. This is called a Lens Skirt. You know, you might look at it and think oh, it's a, it's a great hat. But, but no. Robbie Carman: Rich Harrington: It's not a hat. It actually is simply designed to go around the front of the camera. And what I'm doing is basically taking a zip tie here. And it jsut goes around the camera and you sinch that. And it's going to just attach to the front of really any size lens. Now the other ends are four suction cups. So you just get that out to the window. And attach that. Now you could be shooting through a car window. Or, I use this all the time with time lapse shooting.
Shooting out a hotel window. What happens is, is you get reflections in the glass. Maybe it's the light coming in from under the door or yourself in silhouette barely getting picked up. Robbie Carman: Mm-hm. Rich Harrington: Particularly with longer exposure. But I love this, because there's so many times when I'm shooting through window, through glass, that I get that problem. And this makes it easier to leave the camera unattended. If you have this on there and attached and you're shooting, you're just going to cut down any unwanted reflections or light bouncing in from the side. Robbie Carman: Yeah, I know, It's a, it's a brilliant piece of kit. And the thing I really like about it too, is that you know, I'm always worried about, more stuff in the bag, more room.
Check this out. This thing folds down, it's very flexible, it can fold up, I can put it in my pocket, it doesn't take up much room in the kit, and it's one of those things I think is you know, just a nice little thing to have for those kind of specialty situations. And I find myself Rich all the time, you know, I look at some of the the masters online shooting time-lapse photography out of, out of their hotel room. So I have quickly make the decision hey, every hotel I'm going to go to, I'm going to shoot that awesome time-lapse. Rich Harrington: And then there's lots of silhouette shots of Rob, walking. Robbie Carman: Yeah, like I'm sitting there, scratching my nose, flipping the channels, you know, in the reflection of the glass, yeah.
Rich Harrington: This just works great. It actually helps with light in both directions, light coming from behind the camera and light from the side or in front. It just focuses all the light into the camera itself. A fantastic addition costs less than 50 bucks. Very portable, I would highly recommend this, particularly if you're going to find yourself shooting through windows or glass. Like cars, like corporate environments where you're going to be shooting into say, through a window into a conference room. And particularly for time lapse. Just a great addition. It's called the Lens Skirt. Very affordable.
And you can add that to your kit. Well, lots of goodies today. We talk about ways to just put the camera in new shooting situations. And that's one of my favorite things with the DSLR is opening up those creative options to try new things. Robbie Carman: Absolutely, Rich. And, I mean, I think the thing here is experimentation. There's so much gear on the market now. For these sort of weird shooting situations, tight spaces, weird mount locations and that kind of stuff. And one word of advice that I, I say to a lot of people that ask me about shooting in situations like this, is find somebody that you know who is a good grip or, or a gaffer.
It's always amazed me how many little gadgets and tools that, you know, gaffers and even D.P.'s I guess, to that, you know, to that extent, but especially gaffers have for just mounting. Things in weird places. Rich Harrington: Yeah, yes, and I'm attached to that particular brand of ceiling tile. Right It's amazing how many things are out there. We're not saying go and buy everything. Robbie Carman: No. Rich Harrington: But the point here is by being a little more creative you can get the camera into whole new places giving you all new composition, all new options, so we hope you enjoyed this, we took a little departure this week.
For some related support gear, and we hope it gives you that spark of creativity. From lynda.com, my name is Rich Harrington. Robbie Carman: And I'm Robbie Carman. Rich Harrington: Thanks for joining us.
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