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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.
Hi, my name's Rich Harrington. >> And I'm Robbie Carmon. >> And we're going to talk about one of my favorite subjects, of course, math. I love math, Rob, right? >> Yeah. I mean, I, I see you just like, you know sometimes, just like scooting over to the side of the studio to like, just do some equations. >> Log is all about the ability to shoot with sort of a different space of color, but there are some math components, right? >> Don't think of it as a color space necessarily, think about it as a way of encoding the video signal, right. And without getting too geeky and too mathematical about it, log comes from logarithmic.
And if you know anything about logarithmic that word, it doesn't mean straight, it means we're on a curve here right. And the whole purpose for recording log images or encoding video in a logarithmic scale is to retain shadow and highlight detail. Now, Rich, we've had, we've had this problem ourselves. We've seen thousands of people shoot video. We go, they're like, what's wrong with the video? Their blacks are crushed, their highlights are blown out. And that's a relatively common problem with DSLR cameras. You're going to shoot a very contrasty image where those blacks are going to be crushed or those highlights are going to be blown out.
And in post it's really hard to recover them. >> And part of that is because they want to actually make sure that the images look good coming off the camera. A lot of camera manufactures has been like oh, if it doesn't look good coming right outta the camera, no one's going to buy the camera. >> It's not that the idea of a concept of log is entirely new to the world of DSLR, for years people have been advocating that you go out and shoot flat. >> Yeah. >> Right? That you shoot low contrast. You shoot with low saturation, but that's not true log recording. >> No, you can kind of fake it with the camera profile for a DSLR where you weren't pushing the blacks all the way to one end or the other.
We sometimes call that the ugly middle. You've heard us refer to it on the show that way. You know, putting everything towards the center, but I had to admit when I, I first took out this camera and I'm looking at it, I'm like. That looks really different, and it wasn't until I got into post that I was excited. >> And that's the thing, is that log recording and log encoding of the video signal is something that is not intended to wow your clients on set. It's intended to give you the utmost flexibility later on in post production. And you're right Rich, on set what a log image is going to like is that it's going to look extremely flat.
Not a lot of contrast at all in it. Not a lot of saturation at all in it. And in fact, if you looked at a log image on the set of say, a waveform monitor, you'd noticed that the contrast is very narrow. >> Yeah. >> We have a very narrow band. You don't have anything that's true black, don't have anything that's true white. >> Yeah, well with that in mind, we are on a set, we do have cameras hooked up. >> Hey. >> And we got a waveform monitor. >> LAUGH It's like we planned it. So when we come back we're going to take a look at actually the onset workflow with log, and talk about monitoring log as well as just looking at it on the waveform to see what we have.
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