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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: So Rich, I've told you this a million times. There's a million ways to skin the cat when it comes to focusing, right. There's loops, there's you know, punching in, there's auto focus. One of the sort of newer methods, that, you know is newer to the DSLR world but of course, in traditional cameras has been around forever, is using external monitoring. And additionally, even using items like this one which is an EVF or an electric Electronic viewfinder. Rich: Yeah. Folks'll say, well what's the big deal? The screen's about the same size. Well, it's a much higher quality screen. Higher resolution. I like to say, it's like the difference between a first generation iPhone and an iPhone Five.
The quality of the screen, the density of the pixels, is a lot higher. Plus, I can actually flip this around, an use my, electronic view finder with the Z finder to magnify it, an it's beautiful. This gives me all those features. It's got things like, peeking and exposure bars. I can really see what's happening in the shot. Robbie: Yeah, an the nice one about this particular one that we're looking at, this one's made by a company called Zacuto, is that it actually has a looping HDMI out. So it's going HDMI from the camera body itself up to the EVF and then it's looping out. And this is great because you can actually loop it out to an external monitor like I have this one sitting over here.
Now Rich, sometimes you want more people than just you, the camera operator. Rich: Yeah. Robbie: To look at the actual picture, right. Because sometimes I'm like, yeah it's in focus, and client's like, what are you talking about, it's too soft. Rich: Right, or they, let's just be honest, they don't always trust you. There's plenty of people, until you get that working relationship. Robbie: Right. Rich: It's always good to let the client see that it's in focus you know. You don't have to do this all day long, but for like the first half hour if you're new they're like oh, he gets the shots consistent or oh yeah, I really like her style, let them just see your work. So, this is connected, we're looping out, and then in this case we're just running it into the Panasonic monitor.
Robbie: Right, and the advantage of having an external, larger monitor like this is a couple things. First, it's going to give you, obviously, physically a bigger actual picture than the EVF on the back of your LCD. So it's going to be easier to actually look at the picture itself. But then, you know, depending on the particular monitor you get, there's a lot of really cool features. Some of them I've already mentioned. Peaking, false color. Some of them even have waveform monitors and vector scopes built in, so you can measure brightness and color, and things of that nature. So having both of these options available. Rich: Yeah. Robbie: Are going to really just aid you in focusing.
And again, we've said this a million times, but I'm just going to say it for the millionth and first time. Rich: Well, I'll just tell you this much. People don't like to pay for out of focus videos, it's bottom line. Robbie: Right, and everything looks good back here. So, investing in some external monitoring, where you can check critical focus, is definitely the way to go.
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