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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: I'm here with DP Jim Ball. And Jim, a lot of times we need to get the camera to a different position. It'd be pretty boring if all the shots were at eye-level. Jim Ball: So yeah, I mean, the great thing about moving images, video is that you can change angles within the shot, you know, and create dynamic images that are moving and you know, life is not all about eye-level, like you said. So, you can create different emotions and impressions from these camera angles lower versus higher angles can can say denote strength or weakness.
We've all her-, heard of the term, the hero shot. Rich Harrington: Yeah. Jim Ball: Which is usually something slightly lower, that makes a subject greater in the frame. And if you go higher, that makes somebody more diminutive and more, possibly weaker in the frame. So, those are some of the obvi-, obvious examples of camera angles, yeah. Rich Harrington: And I have one of your monopods here. This thing can adjust incredibly with height. We can collapse all the stages. And I could get really low to the ground, right? You know, it's got nice stability. I can get down there and operate, and that's cool. But we can also get quite a bit higher, right? This is actually taller than either you or I.
Jim Ball: Yeah, this is kind of a super version of a monopod that allows me to, not only. The thing about monopods is it allows me not only to change the height very quickly, and stay steady quickly, and move quickly. is, I also have this little operating head on here, because one of the things I don't like about some of the less expensive monopods is you can't, you can't change the angle, like we just talked about. So now, I have this added adjustability, and it even will, will swing this way with the help of this cool little high-end turret die.
Rich Harrington: Yeah. Jim Ball: On the bottom. So this is like super modified Rich Harrington: And. Jim Ball: One step away from a real tripod. Rich Harrington: Yeah. Well, it practically stands on itself. I mean, I wouldn't let go with a real camera. Jim Ball: No, you can't walk away from it. But it's for, that also helps you to move quickly. That's the point. I've used this in the backs of cars where I simply can't get a tripod in. Or on the sidelines of a game where, you know, I, I have to cha-, I want to change quickly but maybe I have, I don't have a lot of breathing room to move around. So, it's got a lot of applications. Very specific ones.
Rich Harrington: And much like an audio person using a boom to extend their reach, with a camera firmly attached to this, we can actually take this and shoot over a crowd, you know. I would do just like a flag pole, put it into your leg, get a nice little brace there. But you could actually take the camera up and shoot over a group or crowd shot. Well, Jim, the monopod is great for that, but we have sitting in front of us here a full blown Jib. And this is going to give us all sorts of control. When we come back, we'll talk, what the Porta-Jib is and how you might choose to work a Jib into your next shot.
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