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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: Using the back of the live view panel is good but you've got a dedicated piece of equipment there Rob right? Robbie Carman: I do, and the thing is, this is one of the first pieces of gear that I bought, this particular item is called a loop or a viewfinder some people call it. This one is made by a company called zacuto, but there's plenty of them on the market. And the basic idea of these things is that they are magnifiers. Right, they allow you to. Rich Harrington: I say to folks it's like a lens for the back of your camera. Robbie Carman: Right, they allow you to zoom into the camera LCD. But the other benefit that they have, because of the eye cup and because they actually connect physically to the back of the camera like this, they also have the added benefit of blocking any ambient light.
So on a day like this where it's kind of, kind of bright, it's really kind of difficult to see the LCD. You throw on the loop, and it makes it much easier. And because it's magnifying it, we can get sharper focus too. Rich Harrington: Yeah, you also get an extra benefit if you're hand holding the camera, it gives you a third point of contact so you'll have the two hands on the camera. And then the camera rests against your eye, that's more stability. But, these viewfinders tend to offer magnifications between two to three times. Robbie Carman: Right. Rich Harrington: Two an a half is pretty standard. An that just really let's you know that it's in focus. Now the thing most people screw up though, this little dial on top.
Robbie Carman: Yeah. Rich Harrington: Is a diopter. An that's really meant to accommodate for people who wear glasses, who don't want to use them when they're wearing this. But how do you set that, like if you get that out of position, you could be really screwing things up. Robbie Carman: Yeah, so the thing is, it's kind of hard to set diopter position when you're looking at normal video. So the way that I always do this is simply bring up some menus in your camera's menu system, right. Because it's a little fine text. And it's very detailed and very small and very sharp. And once you get that text pretty sharp, from you know, two inches away, you can pretty be sure, you know, pretty sure that whatever's out there in the field that you're shooting is also going to be tack sharp.
Rich Harrington: Now, I'll go ahead and adjust, but notice that this actually rotates, so that if Rob wanted to operate. Or you're left or right eye, you could flip. Robbie Carman: And, Rich, there's one more thing about the loops that I just want to mention. Sometimes after adjusting the diopter, you might still need more adjustment, so you might need to go to your particular loop manufacturer and see if they have step-up plates. And what the step plate's, is that it simply moves the actual loop further away from the LCD allowing you to get further adjustment by having it further away and using the diopter. Rich Harrington: All right, so this is working really well. When we come back we'll talk about another method of trusting the camera to achieve focus for you.
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