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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: Rich, another really handy feature on field monitors is the ability to show us false color. Now, false color is like why, don't I want to see true color? Rich Harrington: Yeah, I was going to say, the marketing people, you know, you've got the true color people like those accurate monitors with bit data, they're like, why would I buy a false color, right. Again its a way for the monitor to show you feedback. We're in a really bright situation, we've got a small hood, we're going to end up when we do this for real, public throwing a piece of fabric over our head. Robbie Carman: Yeah, yeah. Rich Harrington: And standing under a sheet and looking at the monitor.
But that's not always an option. In false color, it gives us some additional feedback on the exposure, right. Robbie Carman: Right, so like where peaking for example would help you with focusing, false color is really going to help you nail that exposure. So again you're looking through the loop on your DSLR or maybe at the LCD. It can be hard to tell what's sort of properly exposed, what's too high, what's too low. And so what false color does is it splits up the image into various parts of sort of the tonal range or exposure. So in this case, when we're looking at something, right now Kevin has. Purposely underexposed this image, so I have a lot of blue across this image saying, hey, this stuff is really too dark, it's underexposed.
Now since Kevin stepped down here, you can see that we have a range of sort of yellows and reds. Rich Harrington: It's sort of like a pretty sunset, but that's not good is it? Robbie Carman: No Kevin had a really great line that he told us earlier. Red is dead, right? Rich Harrington: Yeah. Robbie Carman: Red is going to indicate that that part of the the image is overexposed and is too hot. Rich Harrington: Go ahead and set it for proper exposure. Alright. So now, we're seeing a lot of grays. There is a little bit of yellow that's going to be equating to some of the hot spots on the deck. Robbie Carman: But yellow is not terrible. Right? Yellow is not, you know, it's not red is dead. Right? Yellow is sort of, yeah you're getting up there towards the sort of top end of sort of exposure.
And the other thing I like to do, by the way, is you know when you have false color display. If you have the ability on your monitor as well to bring up say a wave form monitor as another way of checking that, just to verify that hey this, you know, false color stuff is working properly. Rich Harrington: Yeah and you can always do a test under a controlled environment like a studio. Robbie Carman: Yup. Rich Harrington: Or you could just connect to your NLE, go out the HD my port on your graphics card and look at the scopes on followcup road, Premier Pro. And you could see, oh, I'm at this point, it says that I'm hitting 90%, oh, that's reading as orange on false color. Robbie Carman: Exactly, and then, just like anything else, becoming familiar with your equipment and how it responds to different exposures, in this case with false color, is a good thing.
And just like, you know, other tools on monitors like peaking, this is one of those things that you don't want to rely on 100%. But it's a great feature to have in a monitor to help you out in tricky situations where exposure is essential.
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