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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: Sometimes you need to mount the camera in really unusual places. The front of a surfboard. Make sure it's in a waterproof case. Rob: Yeah. Rich: Or perhaps, on the side of a car. And this is one of those areas where people get really nervous. You know, my camera doesn't have Spiderman's powers. Rob: Well right, I mean you spend a couple grand for the body. You have another couple grand potentially in the lenses and in all that kind of stuff. You want to be sure that nothing bad's going to happen to your camera. Rich: I would go with a prime lens in this case. I would put the cheapest lens on the camera.
Rob: Sure. Rich: And I would put the cheapest camera on the mount. And this is a good reason, you know. For example, when they're shooting films, and they're destroying cameras, they're probably not doing it with 5D Mark IIIs, they're probably using T4Is. But, this is still a secure way. You've got a suction cup mount there. Rob: Yeah. Now this is a cool little piece of piece of kit. This is you know, a little suction cup mount by Delkin. And this is probably on the lower to mid range end of things. Now, I want to be clear that when it comes to car mounting and suction mounting, the sky is kind of the limit. You can buy full systems that cost tens of thousands of dollars, have stabilization, gimble type you know, mounts and that kind of stuff.
This is a pretty straightforward one. And the basic way that this works, Rich, is that we have a suction cup mount right here on the bottom. We have a knob right here where I can sort of adjust the angle of this arm. And then I have a little ball head up here, where I can sort of line up or straighten out the camera. And all I do is go onto a surface that will accept the suction cup. Now, this is actually an important thing. Make sure that you go ahead and sort of, without the camera on it and without an actual shooting situation, make sure that suction cup will actually adhere to what you're trying to put it on. Just a moment ago, before we started recording, I was trying to put this suction cup here on this wooden table. Rich: No.
Rob: No. Not, not happening. So, I had a little Plexi Plexiglass box here to sort of simulate you know, simulate, like a car mount. Rich: Now to make that a little bit of a better suction cup, you could goober it up, Rob, but let me just put a little water on there. Rob: Yep. Rich: So just get a little bit of moisture. Rob: Yep. Rich: Don't overdo it but that just helps. Rob: So, the way it works is basically I push the suction the suction cup down. And this particular one has a little button right in the middle that I'm just going to go ahead and press. And then it has a little lock that I just kind of tilt up there and then voila, I have a suction cup mount there. Now, this could be on the side of a car, it could be on the roof of a car, hood of a car.
However, I don't know about you Rich, I think things kind of break from time to time, Rich: Yeah, yeah, yeah, it's going to be the last take of the day after it's stayed mounted for hours, then the sun comes out. Safety Cables, I don't care which step you use, this is a lighting type cable. You could easily run, right through the camera here, your typical keychain ring, some strong metal ring there or to a camera strap. You can go ahead and do this to a point here on this. But take some sort of strap, get that around there, so it's actually tight and secure, you know.
And what you want to create here is the ability. So I would go ahead and cinch that. I would take a piece of gaff tape, lock that into place and then hook this someplace where it's not going to fall. So if the mount failed, the camera might swing in the wind a little bit, but it's not going to go bouncing on the ground. Rob: Yeah, and in the case of, for example, if this was the side of a car, right? I'd get a longer one of these. And what I could do is come in through the window. And maybe take this carabiner, hook it to, I don't know, the, Rich: The seat belt clip. Rob: The seat belt clip, or the handle on the door, or something like that. The idea is that, you know, you might still do some damage to your camera and to the lens.
But it's far better than going, driving half way down the street to realize that your camera is a half a mile back that way and in complete pieces. So security is always a good thing to, to have. Rich: Yeah, any time you're going to suspend something, whether it be a light or a camera, always go for a safety chain of some sort. And, a big deal when you look at these, they have weight ratings. Absolutely, positively, follow those weight ratings. In fact, I generally go for double the strength I need. If it says, oh it's designed for a 10-pound camera, I'm not putting anything more than a 5-pound camera on it.
You're going to want to find the right balance. The other thing that you can combine this with, this is actually a great opportunity to use something like a Go-Pro, rather than the DSLR. You could still get that mount point but instead of bouncing, oh I don't know, a $2100 camera with a $1500 lens, I'm bouncing a $300 Go-Pro in a hard plastic case that's meant to be bounced. Rob: Yup. Rich: But, do what you need to do. Lots of different options. And this just opens up a whole new way of shooting that you might not have thought of. Well, when we come back, we're going to talk about the special tripod head here. You've been looking at it throughout this episode It looks like a piece of modern art.
I really like this, it's called a D IN O, and you'll find out more next.
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