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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: So Rich, in situations where you want to use an ND filter, you know, that obviously cuts down on the amount of light coming into the camera. Rich Harrington: Yeah. Robbie Carman: However in a situation like this, we're out on this beach, and we have sort of, a mixed environment where, part of the scene might be a little dark, part of the scene might be a little bright. Rich Harrington: The clouds are moving. The light can change at any moment. Robbie Carman: An ND filter is sort of a hammer on something that needs more of like I don't what something more gentle than a hammer would be. Rich Harrington: A small chisel. Robbie Carman: A small chisel. Exactly. So enter the variable ND Filter. Rich Harrington: Yeah. Robbie Carman: Tell us a little bit about that. Rich Harrington: Well what it has here is this particular filter has a minimum and a maximum value, and essentially as you turn the dial it actually gets darker.
So you can see right through there. How it's changing. Robbie Carman: Yep, absolutely. Rich Harrington: And it's basically two filters, and as you adjust them you end up getting a, a shift. So it's kind of cool what happens there. Robbie Carman: So instead of having to swap out, you know, various levels of ND on your lens every time you want, you know, what, one stop, two stops, three stops, you can put one filter on the lens and have control over adjusting the amount of ND that's supplied. Rich Harrington: Yeah. And this one's threaded like the others. I'll just attach that. It has a little bit of a larger body. Robbie Carman: Yep. And it operates very similar.
If you ever used a circular polarizer. The idea is kind of the same. It kind of, rotates around the front element of the lens. Rich Harrington: Yeah. So we're at the minimum value there. What I'll do is I'll go to the mid point. Robbie Carman: Yep. Rich Harrington: sort of halfway between minimum and max. Robbie Carman: Yep. Rich Harrington: And now we can actually dial in a more open, F stop. So instead of shooting at F11 to get the shot. And let's go to something a little more open. I'm going to take that to F7. Robbie Carman: Yep. Rich Harrington: And it reads as a bit overexposed. And as we adjust, you see it goes bright, or we can really darken that down quite a bit.
And so it's even changing the apparent time of day. Robbie Carman: Yeah, and I love variable ND filters also for situations where you're going maybe run and gun, where you're going from inside to outside. So you're properly exposing something inside and you need to quickly go outside. It's very hard, hard on the DSLR these days to do, you know, what, you know dps refer to as some sort of split exposures. Because every time you use that sort of exposure or shutter control. You know? That's going to cause you steps and it's sometimes something you don't want to do. So using the ND, the variable ND filter, you can very smoothly adjust exposure in the various situations that you find yourself in.
Rich Harrington: Yeah, so we'll go ahead. Jason, why don't you go ahead and do the walk towards us. And so, as he walks in here, if my lighting was to change, I can ride that. And unlike a traditional lens, even if you had an external aperture ring, Robbie Carman: Yup. Rich Harrington: A lot of times that has clicks or stops. Robbie Carman: That's what I was referring to. Yeah, I mean, it's just stop, stop, stop, stop, and you don't want that. And this will give you that nice, smooth exposure change. Which is perfect for mix exposure situations. Rich Harrington: Yeah. So it's working really great. I'm just going to go ahead and monitor the rest of this shot. And we'll finish this take. Yeah it's really working, I like the shallow depth of field here. So he's a bit shallow focused, and as he walks in to play, he's going to come into focus.
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