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Using a stable platform

From: DSLR Video Tips

Video: Using a stable platform

Richard Harrington: We have a lot of different stuff here and I think before we start getting into expensive rigs that are very, very dedicated or high specialty-- Robbie Carman: Let's go low-tech. Richard Harrington: Yeah, let's go low-tech, some of the basics. So, I've got a camera here, I got a strap. Robbie Carman: Yup. Richard Harrington: Strap can go around my neck and just extend it out. Robbie Carman: Hey, stabilization. Richard Harrington: Yeah. I'm transferring this here, so now there is less shake, because I have resistance and I could still even do focusing and turn. Just make sure this is a firm connection because if you're really cranking on this and it goes pop. Robbie Carman: The other thing about this, I've done this technique before, because this is a nice light weight kit, obviously straps are easy to walk around with.

Using a stable platform

Richard Harrington: We have a lot of different stuff here and I think before we start getting into expensive rigs that are very, very dedicated or high specialty-- Robbie Carman: Let's go low-tech. Richard Harrington: Yeah, let's go low-tech, some of the basics. So, I've got a camera here, I got a strap. Robbie Carman: Yup. Richard Harrington: Strap can go around my neck and just extend it out. Robbie Carman: Hey, stabilization. Richard Harrington: Yeah. I'm transferring this here, so now there is less shake, because I have resistance and I could still even do focusing and turn. Just make sure this is a firm connection because if you're really cranking on this and it goes pop. Robbie Carman: The other thing about this, I've done this technique before, because this is a nice light weight kit, obviously straps are easy to walk around with.

If you do it all day, next thing you know, you definitely have a little bit of a pain in the neck. So there is another way of actually doing this that that you showed me that I think is really nice. It's kind of putting it under the arm and pulling on this. Now you're not pulling on your neck, you're more pulling on sort of the back part of your shoulder here and it gives you not the same, but again, a nice little bit of stabilization there. Richard Harrington: Yeah, you are just cranking that in or you could tighten it down, you can go under the elbow. Now some people will trap that there with the elbow and just get a little bit tighter. Yeah, you could shorten this, but it's just putting tension on it to really tighten that up. And another type of thing like this is the R- Strap, is another one that goes across the chest, camera slings to the side, you could pull that up for some good support.

You are just using the strap and that works well. Another device that we talked about before is using a loop or a viewfinder, and this can add another point of contact. Robbie Carman: So this is just a loop or a viewfinder, but before we talk about the points of contact, generally speaking when you're using a Live View mode, you only have really two points of contact, left hand, right hand, right? But if we go ahead and add that viewfinder here, just by snapping it on the back here, now I have a third point of contact, right? So my two hands, and then the actual loop on the back of the camera attached to mine, and this nice and even if you don't have a loop on it for a third point contact, you can easily create a third point of contact.

What I mean by that is using things that are around you. So for example, if you're shooting and there was a wall in front of you, like a brick wall or fence, you can place the camera on that. For example, I just place it on the table here and now I have another point of contact for stabilization. So you don't necessarily have to spend a lot of money to get some cheap stabilization. Richard Harrington: Well, one of the favorite terms I heard that a photographer introduced me to, "oh that's my trash pod," using the trashcan as a point to set the camera on so it's stable. You'll see trashcans out there, you'll see railings, park benches, anything that's flat and sturdier than you is a great place to set the camera. Don't set it and walk away.

It will get stolen or blow over, but just set on that ledge and use it, and that really cuts down on the shake. Robbie Carman: But you said, you mentioned the word pod, trash pod, but let's talk about some other types of pods, right? One of the most common ways that photographers use to stabilize their shot, even if they are not doing studio shots, they are out there in the field, is with a guy like this, like a monopod, right? Mono meaning one, so this is just a single leg monopod that I can extend out, twist these guys out, and put this you know on the ground or wherever I'm shooting, and I have a little extra stabilization. This is particular great when you have a heavier camera or heavier lens attached to the camera and it's little hard to handhold.

Richard Harrington: And I got a trick with this too. One of the things I like about this, if I extend it all the way, I can actually do things like, I'm not going to hit the ceiling here, but this gets pretty tall, going up at a concert to get over the crowd, doing basically a boom type move where you lift the camera up to reveal something, following the action around a corner. I have actually hung cameras and got low angle shots underneath vehicles. This opens up all sorts of things, and it let's you use your body. Robbie Carman: Just make sure that plate is tight up there.

Richard Harrington: Yeah correct; safety, cables, chains. Yeah, so yeah, this is normally designed so you're holding it in that, but this is a great way to just really extend your reach and get a lot of shots. Robbie Carman: And so besides the monopod of course, we have the tried and true tripod. Now this is a more of a photo type tripod base with the legs here, but the nice thing is we have a fluid head on this tripod and that's actually something I think is pretty important when people go to tripods for stabilization. If you're coming from a photography background, you might be used to sort of the ball head on the tripod, and it can work okay for locked down shots when we are shooting video, but if you're getting more equipment on the tripod, bigger lenses, various things on there, it's probably going to sag a little bit and not work too well. That's why we always suggest when you use a tripod and you're shooting the DSLR video, get a fluid head on here, and this can obviously range in price, but they're definitely worth it.

Richard Harrington: And what's nice is they actually have locks, but they generally lets you adjust the tension, so you can have it so you could freely position it and then when you let go, there is enough tension that it holds, as opposed to a photo tripod, where you have to keep unscrewing things, angle it, okay is it level, okay, tighten it all back down. They're fine, but you know, you brought up the point; this was a photo tripod that I adapted to a video tripod by just swapping out the head. Still lightweight, carbon fiber legs. I switched the feet to being rubber feet. They are a little more robust, make it a little more stable, but there's lots of ways a video tripod can be an adapted photo tripod, or you can get a dedicated video tripod if you have the dollars.

Robbie Carman: Yeah and of course, video tripods are--they're going to run the gamut from relatively inexpensive, aluminum and steel models, up to very expensive carbon fiber models that can handle huge big rigs. Richard Harrington: Now there are other types of approaches. Robbie Carman: There are. So, the next step after you've sort of gone and you've used the monopod or the tripod, one of the things that people find particularly challenging is stabilizing the shot when they're mobile, right? It's difficult to do that and sort of the first line of way or sort of the first method of doing that is with sort of shoulder mount or handheld rigs like this.

This particular one is made by a company called Redrock Micro. That one that you have there is made by a company called Zacuto, but there are ton of manufactures out there. And the real point with these is that they offer multiple points of contact. So on this one, for example, I have two handgrips here, a shoulder grip, and if I had a camera mounted I can even have a little loop on the back, where I can have a fourth point of contact. Richard Harrington: Yeah, let me have that for a second. Robbie Carman: Yeah sure, you snap that on the back there. Richard Harrington: And this just makes it nice and secure, so in this case, I could adjust the angles of these pieces here, so I'm just going to tilt this down a little bit to hit my shoulder blade.

It goes in, the eye is placed, it's going against my shoulder blade. I have two hands here, so I can walk, I could pan, I can rotate and if I had to I could let go with one arm and adjust the lens depending on the type of connection we had. Now this particular one is a prime, so there is really no zoom to adjust, but you could refine the focus, and this is just very comfortable for lots of shooting situations, so if you have to shoot for a long period. Now I will let you know that taking one of these devices through an airport security is pretty much a guarantee that they going to say, and what do you do for a living? But these do break down nice and small. I usually pack mine into my bag, so I don't have to deal with the hassle, but you could break these down into just the tubes and the kits, and all of these come apart pretty simply.

And then if you are doing lots of shooting or real hard-core stuff. Robbie Carman: This is more sophisticated rig that we don't have a camera on there right now, but you can see it's a little bit more complicated. We have sort of dual style pistol grips here, over the shoulder, which is really nice. And you can see on the back there, there's a weight, so we can actually counterweight this depending on what we have going on, on the front end of the rig here. Richard Harrington: Yeah, you adjust where that weight is positioned and so you if had a matte box and a follow focus and audio equipment and a monitor, this will get really front heavy. So having all that weight in the back, means that you're not holding the camera up, rather it just balances perfectly on your shoulder and you're just keeping it there safe.

Robbie Carman: And this one is also really nice, because it has this handle, so we can actually do some low angle work, holding the rig, we could have multiple handles. Now I actually think that's a really good point with all of these rigs, because that they're pretty modular in the way that you can adapt them. You can put on different bars and different attachments. Now there is one thing Rich that we don't have here that we should talk about, that is sort of the upper end of stabilization, would be sort of systems like the Steadicam system or Gimbal Systems, where we're going to have the camera sort of floating in a supported space, in the case of a Steadicam, with a vest on us and sort of a balance rig like that.

Richard Harrington: I got a couple things to say about that though, buying a Steadicam does not make you a Steadicam operator. If you're going to get one of these rigs, there tends to be classes, and training, and lots of practice. It takes years to get great at it. But you can absolutely do that with a DSLR. There are affordable ones from companies like Glidecam that are designed for lightweight cameras. Another way though to get smooth movement in, this a popular thing with DSLR, is the use of a slider, which is essentially a platform on wheels and you mount the camera and you've got the ability to go ahead and slide that back-and-forth, and that let's you get fluid motion for tracking shots, pans, et cetera.

Robbie Carman: These have become really popular. A lot of people use them for time lapses. I particularly love them for interviews, where we having not so much, you know, a very drastic move, but a nice sort of slow sort of move left and right, and that adds some sort of dimensionality to the shot, makes it seem a little bit more dynamic. Now the cool thing about these, this one you have right here is just sort of a push model, but they can have motors attached to them. So if you're doing this, for example, action photography or sophisticated time lapse photography, you can have it move in specific increments and things of that nature.

But this is great--come in different lengths depending on how much you want the camera to move. Richard Harrington: Right. And if after all of these things you still have camera shake, there's always postproduction. When we come back, we'll talk about strategies for eliminating camera movement during the editing stage.

Show transcript

This video is part of

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DSLR Video Tips

350 video lessons · 99667 viewers

Richard Harrington and Robbie Carman
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  1. 1m 23s
    1. DSLR Video Tips Trailer
      1m 23s
  2. 2m 23s
    1. Welcome
      2m 23s
  3. 3m 36s
    1. Frame size recommendations
      3m 36s
  4. 15m 6s
    1. Exploring frame rate choices
      6m 16s
    2. Frame rate recommendations
      4m 42s
    3. Mixing frame rates
      4m 8s
  5. 9m 19s
    1. Understanding color loss
      5m 6s
    2. Understanding detail loss
      4m 13s
  6. 12m 8s
    1. Comparing sensor sizes
      3m 43s
    2. Why choose a cropped sensor
      4m 40s
    3. Why choose a full sensor
      3m 45s
  7. 9m 9s
    1. Understanding how DSLR viewfinders react when recording video
      2m 11s
    2. Understanding live view
      6m 58s
  8. 8m 39s
    1. Understanding aspect ratio
      4m 14s
    2. Why shoot 16:9
      4m 25s
  9. 8m 6s
    1. Composition matters
      3m 24s
    2. Exploring the action-safe area
      4m 42s
  10. 23m 7s
    1. Understanding card speeds
      8m 59s
    2. Shooting video
      6m 42s
    3. Shooting time lapse
      7m 26s
  11. 11m 27s
    1. What is rolling shutter?
      5m 50s
    2. Avoiding rolling shutter
      5m 37s
  12. 8m 11s
    1. Moiré explained
      3m 10s
    2. Avoiding Moiré
      5m 1s
  13. 7m 36s
    1. The dangers of tiny screens
      1m 22s
    2. How to set focus before recording
      6m 14s
  14. 9m 32s
    1. Using your HDMI port
      5m 17s
    2. Adapting HDMI to SDI
      4m 15s
  15. 20m 6s
    1. You call this a mic?
      4m 7s
    2. The impact of Auto Gain Control
      4m 34s
    3. The dangers of not monitoring audio
      7m 27s
    4. Using an attached mic
      3m 58s
  16. 4m 44s
    1. Shutter speed explained
      4m 44s
  17. 19m 49s
    1. The Exposure Triangle for low light
      3m 40s
    2. Adjusting aperture
      5m 46s
    3. Adjusting ISO
      5m 24s
    4. Adjusting shutter speed
      4m 59s
  18. 12m 26s
    1. Avoiding lens flare
      2m 8s
    2. Using a lens hood
      2m 46s
    3. Using a matte box
      4m 15s
    4. Exploring other strategies for avoiding lens flares
      3m 17s
  19. 17m 20s
    1. What causes shake?
      3m 23s
    2. Using a stable platform
      9m 27s
    3. Fixing shake in post
      4m 30s
  20. 16m 24s
    1. What are prime lenses?
      3m 21s
    2. Exploring low-light performance
      3m 2s
    3. Working with shallow depth of field
      4m 31s
    4. Examining cost issues
      5m 30s
  21. 11m 39s
    1. What is a matte box?
      4m 2s
    2. Discussing the benefit of filters
      4m 19s
    3. Reducing lense flare
      3m 18s
  22. 14m 19s
    1. What is an EVF?
      2m 51s
    2. Checking focus
      3m 56s
    3. Checking exposure
      3m 28s
    4. Viewing camera settings
      4m 4s
  23. 12m 5s
    1. What is a loupe?
      2m 38s
    2. Proper focus with a loupe
      4m 18s
    3. Proper exposure with a loupe
      5m 9s
  24. 10m 33s
    1. What is a monopod?
      2m 39s
    2. Exploring stabilized shooting
      4m 28s
    3. Exploring overhead shooting
      3m 26s
  25. 13m 48s
    1. Why use a dedicated audio recorder?
      2m 42s
    2. What inputs do I need?
      5m 7s
    3. File formats to choose from
      5m 59s
  26. 17m 6s
    1. Setting levels
      6m 10s
    2. Monitoring sound
      6m 51s
    3. Slating takes
      4m 5s
  27. 6m 22s
    1. Apps you can use to record sync sound
      2m 55s
    2. Adapter cables
      3m 27s
  28. 10m 1s
    1. Why does my exposure change with a zoom lens?
      1m 21s
    2. F-Stop reviewed
      2m 58s
    3. Strategies for dealing with the problem
      5m 42s
  29. 13m 37s
    1. How can I check my focus?
      1m 27s
    2. Zooming in
      3m 14s
    3. Using a target
      3m 44s
    4. Using AutoFocus at the start
      5m 12s
  30. 17m 19s
    1. How many batteries do I need?
      1m 27s
    2. Power or no power
      4m 6s
    3. Other batteries to consider
      6m 35s
    4. Strategies for lengthening battery life
      5m 11s
  31. 27m 29s
    1. What adapters should I carry?
      1m 21s
    2. Adapting audio
      7m 13s
    3. Adapting video
      8m 54s
    4. Power options
      4m 9s
    5. Connecting gear
      5m 52s
  32. 16m 4s
    1. What type of microphone should I use for run-and-gun shooting?
      2m 16s
    2. Built-in microphones
      3m 36s
    3. Shotgun microphones
      4m 27s
    4. Microphone preamps
      5m 45s
  33. 13m 38s
    1. What type of microphone should I use for an interview?
      2m 2s
    2. Lavaliere mic
      6m 35s
    3. Boom mic
      5m 1s
  34. 16m 45s
    1. Why do I need a fluid head?
      3m 6s
    2. Standard photo head drawbacks
      4m 1s
    3. Why use a fluid head?
      6m 9s
    4. Converting a photo tripod
      3m 29s
  35. 13m 34s
    1. Why should I use a slate?
      2m 0s
    2. Using a digital slate
      5m 13s
    3. Using a physical slate
      3m 32s
    4. Alternate metadata
      2m 49s
  36. 10m 42s
    1. DSLR recording time limits
      4m 14s
    2. Legal limits
      6m 28s
  37. 22m 37s
    1. Is the Canon 6D right for me?
      2m 36s
    2. Beneficial features of the Canon 6D
      3m 41s
    3. Drawbacks of the Canon 6D
      4m 21s
    4. Menu options of the Canon 6D
      11m 59s
  38. 21m 17s
    1. The Nikon D600
      2m 38s
    2. Beneficial features of the Nikon D600
      6m 4s
    3. Drawbacks of the Nikon D600
      3m 45s
    4. Menu options of the Nikon D600
      8m 50s
  39. 8m 39s
    1. Can I attach lights to the camera?
      4m 57s
    2. Moving lights off-center
      3m 42s
  40. 18m 4s
    1. How do I get my camera into tight spaces?
      1m 58s
    2. Using GorillaPods
      3m 52s
    3. Using additional Grip Items
      4m 30s
    4. Using a DINO
      3m 50s
    5. Using a Lens Skirt
      3m 54s
  41. 17m 42s
    1. How can I get smooth tracking shots?
      1m 42s
    2. Walking the camera
      7m 55s
    3. Using sliders and dollies
      8m 5s
  42. 23m 1s
    1. How can I fix shaky shooting?
      4m 37s
    2. Fixing shaky shooting in Final Cut Pro X
      8m 54s
    3. Fixing shaky shooting in Premiere Pro
      9m 30s
  43. 15m 18s
    1. How should I manage my cards in the field?
      2m 16s
    2. Using card wallets
      5m 33s
    3. Mirroring your data
      7m 29s
  44. 23m 56s
    1. How do I transfer my footage?
      12m 15s
    2. Monitoring your footage
      11m 41s
  45. 26m 28s
    1. How do I rack focus?
      1m 47s
    2. Using a Prime Lens
      8m 22s
    3. Using a Zoom Lens
      9m 13s
    4. Using a follow focus
      7m 6s
  46. 23m 8s
    1. How do I clean my camera?
      2m 55s
    2. Keeping the lens clean
      7m 48s
    3. Cleaning the sensor
      8m 14s
    4. Performing a wet sensor cleaning
      4m 11s
  47. 23m 58s
    1. How do I get slow motion footage?
      1m 50s
    2. Setting up slow motion in camera settings
      4m 57s
    3. Slow motion in Final Cut Pro X
      6m 17s
    4. Slow motion in Premiere Pro
      3m 57s
    5. Slow motion in After Effects
      6m 57s
  48. 14m 53s
    1. How do I import into Final Cut Pro X?
      59s
    2. Transferring from a card into Final Cut Pro X
      5m 3s
    3. Importing footage into Final Cut Pro X
      8m 51s
  49. 12m 10s
    1. How do I import into Premiere Pro?
      1m 19s
    2. Transferring from a card into Premiere Pro
      3m 55s
    3. Importing footage into Premiere Pro
      6m 56s
  50. 19m 13s
    1. How do I sync sound in post?
      1m 20s
    2. Syncing sound with Final Cut Pro X
      4m 40s
    3. Syncing sound with Premiere Pro
      5m 57s
    4. Syncing sound with Plural Eyes
      7m 16s
  51. 12m 50s
    1. Lighting with available light
      2m 23s
    2. Calculating the sun's position
      2m 7s
    3. Reflectors
      1m 42s
    4. Shiny boards
      1m 31s
    5. Evaluating the results
      5m 7s
  52. 16m 2s
    1. Lighting with alternate sources
      3m 3s
    2. Battery operated LED lights
      2m 15s
    3. Using an inverter
      2m 28s
    4. Using a generator
      1m 19s
    5. Flashlights & GL-1
      1m 28s
    6. Evaluating the results
      5m 29s
  53. 26m 3s
    1. Shooting in small places
      1m 44s
    2. Using portable lights
      8m 0s
    3. Compact lighting
      1m 8s
    4. Lens choices
      1m 31s
    5. Mounting the camera
      2m 11s
    6. Remote operation
      4m 24s
    7. Evaluating the results
      7m 5s
  54. 11m 37s
    1. Follow focus overview
      2m 25s
    2. What is a follow focus?
      2m 38s
    3. Setting the marks
      1m 56s
    4. Operating follow focus
      1m 4s
    5. Evaluating the results
      3m 34s
  55. 13m 57s
    1. Achieving critical focus
      2m 36s
    2. Punching in on LiveView
      2m 5s
    3. Using a loupe
      2m 14s
    4. Using auto focus before the shot
      2m 20s
    5. Using a monitor
      2m 30s
    6. Change the aperture
      2m 12s
  56. 23m 0s
    1. Exposure
      2m 21s
    2. The impact of sensor size
      2m 25s
    3. ND filter
      2m 51s
    4. Variable ND filter
      3m 4s
    5. Matte box
      3m 39s
    6. Evaluating the results
      8m 40s
  57. 10m 29s
    1. Backlit subjects in production
      2m 20s
    2. Shooting "in the middle"
      2m 23s
    3. Overpowering the backlight
      1m 30s
    4. Evaluating the result
      4m 16s
  58. 31m 22s
    1. Backlit subjects in post-production
      1m 54s
    2. Look at scopes
      5m 20s
    3. Enhancing the shots
      4m 51s
    4. Enhancing with Speedgrade
      9m 31s
    5. Enhancing with plugins
      9m 46s
  59. 7m 3s
    1. Audio for interviews
      2m 1s
    2. Placing the mic
      1m 29s
    3. Interview techniques
      1m 36s
    4. Interviewee placement
      1m 57s
  60. 11m 57s
    1. Shooting a product shot
      1m 30s
    2. Building the backdrop
      1m 25s
    3. Compact lighting
      2m 59s
    4. Cleaning the object
      1m 16s
    5. Using a macro lens
      2m 25s
    6. Using a turntable
      2m 22s
  61. 9m 8s
    1. Using a field monitor
      1m 44s
    2. Connecting the monitor
      1m 19s
    3. Using peaking and using focus in red
      1m 36s
    4. Using color assist
      2m 34s
    5. Looping the monitor
      1m 55s
  62. 13m 25s
    1. Scopes
      3m 37s
    2. Reading the histogram
      2m 11s
    3. Reading a waveform monitor
      2m 38s
    4. Reading a vectorscope
      4m 59s
  63. 30m 59s
    1. What is a GoPro?
      2m 35s
    2. The GoPro bodies
      3m 53s
    3. Essential GoPro gear
      9m 0s
    4. Powering the GoPro
      6m 13s
    5. Accessing GoPro menus
      3m 34s
    6. Essential menu commands
      5m 44s
  64. 9m 2s
    1. Exposure
      1m 1s
    2. The exposure triangle
      2m 40s
    3. Evaluating the settings
      5m 21s
  65. 15m 48s
    1. What is aperture?
      3m 29s
    2. A DP's perspective on aperture
      45s
    3. Adjusting aperture
      2m 14s
    4. Evaluating the shots
      9m 20s
  66. 14m 4s
    1. What is shutter speed?
      3m 58s
    2. A DP's perspective on shutter speed
      1m 37s
    3. Adjusting shutter speed
      2m 54s
    4. Evaluating the shots
      5m 35s
  67. 18m 12s
    1. What is ISO?
      5m 12s
    2. A DP's perspective on ISO
      1m 52s
    3. Adjusting ISO
      2m 49s
    4. Evaluating the shots
      8m 19s
  68. 7m 41s
    1. Controlling exposure beyond camera settings
      2m 44s
    2. Adding light
      2m 54s
    3. Adding filtration
      2m 3s
  69. 19m 27s
    1. Getting the camera higher
      2m 26s
    2. Using a monopod to extend your reach
      2m 46s
    3. What is a jib?
      3m 33s
    4. Operating a jib
      6m 21s
    5. Evaluating the shots
      4m 21s
  70. 18m 14s
    1. The Blackmagic Pocket Cinema Camera
      4m 38s
    2. What to look out for
      5m 3s
    3. Pocket Cinema Camera workflow
      3m 51s
    4. Evaluating the shots
      4m 42s
  71. 17m 15s
    1. Shooting with a GoPro mount
      5m 14s
    2. Connecting a GoPro remote
      2m 46s
    3. Viewing with a remote app
      3m 48s
    4. Recording with a remote app
      3m 11s
    5. Evaluating the shots
      2m 16s
  72. 14m 15s
    1. Using a click track
      1m 28s
    2. Creating a click track
      5m 10s
    3. Playing a click track in the field
      36s
    4. Recording with a click track
      53s
    5. Syncing in post
      6m 8s
  73. 7m 5s
    1. Preparing for a shoot with multiple DSLR cameras
      2m 10s
    2. Scouting the location
      1m 16s
    3. Lighting for multiple cameras
      48s
    4. A DP's perspective on multicamera lighting
      1m 56s
    5. Matching cameras
      55s
  74. 5m 21s
    1. Doing a shoot with multiple DSLR cameras
      2m 21s
    2. Positioning the cameras
      1m 2s
    3. Syncing the cameras
      1m 2s
    4. Directing the shoot
      56s
  75. 16m 59s
    1. Achieving a film look
      2m 36s
    2. Post-processing to achieve a film look: Part one
      7m 20s
    3. Post-processing to achieve a film look: Part two
      7m 3s
  76. 28m 47s
    1. Black Magic Cinema Camera
      3m 44s
    2. Things to Look Out For
      9m 41s
    3. Recording with the Blackmagic Cinema Camera
      2m 15s
    4. Focusing
      3m 17s
    5. Evaluating the Shots
      5m 12s
    6. RAW Workflow
      4m 38s
  77. 15m 50s
    1. Achieving a film look
      2m 28s
    2. Post-processing to achieve a film look: Part 1
      8m 45s
    3. Post-processing to achieve a film look: Part 2
      4m 37s
  78. 18m 58s
    1. Shooting time lapses with a GoPro
      2m 25s
    2. Setting up the GoPro
      4m 30s
    3. Accessing the footage
      4m 52s
    4. Processing the footage
      7m 11s
  79. 21m 21s
    1. Why assemble a time lapse?
      1m 59s
    2. Assembling a time lapse in Photoshop
      6m 36s
    3. Assembling a time lapse in Premiere Pro
      7m 43s
    4. Assembling a time lapse in After Effects
      5m 3s
  80. 22m 40s
    1. Processing multiple-camera footage
      1m 42s
    2. Organizing the media for Adobe Premiere Pro
      5m 36s
    3. Syncing in Adobe Premiere Pro
      6m 20s
    4. Editing in Adobe Premiere Pro
      9m 2s
  81. 15m 1s
    1. Processing multiple-camera footage
      1m 8s
    2. Organizing and syncing media for Final Cut Pro X
      5m 13s
    3. Editing in Final Cut Pro X
      8m 40s
  82. 21m 56s
    1. How do I get a GoPro in the air?
      2m 1s
    2. Attaching a GoPro to a quadcopter
      2m 23s
    3. Calibrating the quadcopter
      2m 13s
    4. Flying with the GoPro on the quadcopter
      3m 48s
    5. Evaluating the quadcopter footage
      5m 49s
    6. Getting more control with the quadcopter
      5m 42s
  83. 15m 58s
    1. Sliding the camera
      3m 1s
    2. Tabletop dolly
      3m 8s
    3. What is a slider?
      3m 55s
    4. Using a slider
      3m 32s
    5. Slider versatility
      2m 22s
  84. 13m 14s
    1. Shooting with an iPhone 5S
      2m 58s
    2. Shooting slow motion
      3m 11s
    3. Accessing footage
      3m 17s
    4. Assembling footage
      3m 48s
  85. 16m 9s
    1. Benefits of mirrorless cameras
      2m 48s
    2. Mirrorless workflow
      2m 41s
    3. Things to look out for
      6m 10s
    4. Evaluating the footage
      4m 30s
  86. 26m 6s
    1. What is Log?
      2m 40s
    2. Why should you shoot Log?
      6m 7s
    3. Using a LUT with Dynamic Link
      8m 11s
    4. Creating a LUT in Adobe Speedgrade
      9m 8s
  87. 30m 34s
    1. Matching cameras
      1m 58s
    2. Variables
      4m 22s
    3. Calibration
      8m 42s
    4. Evaluating the shots
      3m 5s
    5. Matching Log footage
      6m 30s
    6. Matching ProRes
      5m 57s
  88. 11m 39s
    1. Achieving a film look
      3m 7s
    2. Using Resolve presets
      4m 29s
    3. Color grading from scratch
      4m 3s
  89. 19m 1s
    1. Achieving a filmic look
      3m 58s
    2. Using Speedgrade presets
      7m 34s
    3. Color grading from scratch
      7m 29s
  90. 11m 48s
    1. Remotely controlling a camera
      1m 34s
    2. Attaching a CamRanger
      2m 38s
    3. Creating a network
      4m 50s
    4. Controlling with an iPad
      2m 46s
  91. 10m 49s
    1. Taking a look at shaky footage
      1m 45s
    2. Fixing shaky footage in Final Cut Pro X
      3m 18s
    3. Fixing shaky footage in Adobe Premiere Pro
      5m 46s
  92. 14m 46s
    1. A quick overview of site surveys
      1m 25s
    2. Anticipating the weather
      3m 11s
    3. Taking panoramic site photos with Occipital 360
      3m 46s
    4. Collecting location information with PanaScout
      2m 48s
    5. Portable and mobile pro audio to go
      3m 36s
  93. 24m 54s
    1. Taking a look at third-party plugins
      3m 21s
    2. Exploring Tiffen Dfx Filter plugins
      6m 59s
    3. Boosting creativity with Tiffen Dfx Looks
      4m 3s
    4. Exploring the Magic Bullet Suite
      5m 45s
    5. Taking your footage further with Magic Bullet Looks
      4m 46s
  94. 9m 1s
    1. Scouting the lighting situation out on location
      1m 10s
    2. Using Lighttrac to determine sun or moon position
      2m 12s
    3. Using Sun Seeker to track sun or moon position
      3m 2s
    4. Determining the position of the sun or moon with Focalware
      2m 37s
  95. 2m 30s
    1. Goodbye
      2m 30s

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