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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.
So, there are a couple of different ways to solve this problem with matching cameras. And, we're on set today, and we took the, I don't want to call it the cheating approach, but right now, we're taking the really easy approach to matching cameras, which is >> Shooting with the same camera. >> Yeah. >> And I mean, this just seems like an obvious, no brainer kind of thing, but it makes a huge difference, because at the end of the day, when you're shooting with different cameras, you can only get so close. A Nikon is only going to match a Canon so close with relatively the same settings, or Sony is only going to match you know, a Panasonic ever so close.
But when you're shooting with the same body, the same lens even, you're going to have much better chances. Are there differences? Perhaps, in the age of them, where they were manufactured, how much of use they've been through. But you're going to have a much better chance of getting that close because you're shooting with the same camera. >> Well interesting thing though, you mentioned lenses. >> Yeah. >> Here, here's the thing. Right, like we could have all these same cameras on here, but here I've got a Lumix lens from Panasonic. And this is a lens from Sigma. And this is a lens from Olympus. And we do a lot of micro four thirds shooting in my office. >> Yup. Well, okay, you know, the cool thing here is all these lenses are changeable, but I could put the same focal length from a different manufacturer, and it's like, oh, that one's a little greener, that one's a little bluer.
>> I mean, it's just like, it's like anything else. The quality of the lens is going to make a big difference in getting the sort of look. I mean, after all, lenses are sought after for their look, and I'll give you an example of this. I have a Cannon 24 to 105 lens. Beautiful lens. >> Mm-hm. >> Great for purp, all purposes. It's an F4 lens, can use it for stills, can use it for photo. I had one of those, and I realized quickly I wanted another one because I was running multiple cameras. So the first copy I got was from probably about three, three and a half years ago. >> Yeah. >> I bought a brand new one that was probably manufactured you know, less than a year ago.
And they're very close, but one decidedly has a little bit more contrast than the other lens, with the exactly same settings, on the exact same camera. And that's just because they were manufactured different times. Who knows, the lens coding might be slightly different. >> Yeah. >> Things of that nature. >> Yeah. Yeah, and, and there are so many variables here that get difficult. So, you know, we've talked about at the highest level try to match the cameras. >> Yeah. >> The next level down is try to match the lenses. >> Right. >> Now whether or not you do that, you know, maybe you are using different cameras, you want to get as close as possible pulling things together. I think the biggest area that I want to match, >> Mm-hm >> Is the shutter speed, because that's where you really see differences in motion.
>> Well yeah, not just shutter speed frame rate, as well. >> Yeah. >> I see a lot of people make this mistake, and they go, you know, they're killing themselves later on in post. Why did I shoot, you know, 29.97 here and then 23.98 there and so on. Way to handle this is, before every take, everybody at 23.98, and just like you'd go around the set, and everybody'd give a thumbs up, that they're doing that. Same thing with shutter speed or the shutter angle. >> Well yeah, it's funny that you mention that because we were on a shoot the other day for a commercial, >> Yeah. >> and the external record unit was set to 23.98. The battery went dead, when they powered it back up.
>> It was 2997. Halfway through our spot our frame rate changes. I'm not proud of it. We, we had to. You know, it was fine. We made it all work. >> Yeah. >> But it was extra work in post and so, you're right. You can't just assume because you start the day on one frame rate that everyone's on that. >> I agree. And then so that, that, that shutter angle or that shutter speed, as well as the frame rate, are things that you're definitely going to want to match. because they will definitely change the whole feel and look of your piece, in terms of motion and, and the feel of it. >> I tell you the two you can't really match though, ISO is going to totally vary from camera, >> Totally.
>> And f stop is really, all about the artistic look. >> Totally. And, this is another reason we like to use scopes on set. We've in, previous episodes, we talked about how to read a wave form, how to read a vector scope. That kind of thing. And, one of the principal reasons to have scopes on set, is to match cameras, but you might have two different lenses, two different camera bodies. But, if you look at a wave form, and you're looking at the signal and those signals line up, guess what? The exposure's about the same. Flip over to the vetroscope. If you're filming, you know, somebody in a blue shirt like I am, and it matches up on the vetroscope.
Yeah. >> Yeah. >> They're kind of mashed, right? So they might still have different, slightly different, feels, but at least from the the signal level, you can rest assure that they're matching, even though they might be shooting at different ISOs, different fstops, things of that nature. >> All right. Well, with that in mind, we've got two different Blackmagic cameras up here. When we come back, we're going to set them up, and we do have' em attached over to the waveform monitor. So, we'll be able to look at it over there. So, we're going to go ahead and just walk you through the actual process of a set up.
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