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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: Hi there! I am Robbie Carman. Rich Harrington: And I am Rich Harrington. Robbie Carman: And Rich, this week we want to discuss why use a monopod on your DSLR productions? Rich Harrington: Well, a lot of folks are used to tripods and they use these, but then there's the other camp that wants to go handheld. They don't want to be sort of weighted down-- Robbie Carman: Tethered down, if you will. Rich Harrington: Yeah, too much gear, too much baggage. Well, a monopod is kind of the middle ground for both parties. Robbie Carman: Now, the interesting thing about monopods, especially when you talked to video folks, is they are like, well, isn't that for photography? And of course that's where monopods have really sort of come into their own.
Watch a football game on a Sunday afternoon, all the photographers are sitting there with monopods. Rich Harrington: Yeah, supporting those really long lenses. Robbie Carman: Yeah. Rich Harrington: And actually that is a good point, if you are using a really long lens, you don't want to let that hang off the front of the camera, instead you're going to get a shoe and actually attach the monopod to the lens itself and that's very important for proper support. Robbie Carman: Right. Rich Harrington: But this monopod that I've got here, super small, carbon fiber, super lightweight. This weighs like a pound-and-a-half, but I can go ahead and extend this and get quite the reach, all the way up, I'm pretty tall, I'm about 6'4". This is actually taller than I need. This will work for somebody who is almost 7 feet tall.
Robbie Carman: Well, that's actually one of the really nice benefits of a monopod is because you can extend it out to sort of nice long reach, and of course depending on the monopod you choose, they'll have different lengths, and they're good for things like maybe you're shooting a concert, or an event where there's a lot of crowd and a lot of people around, you can get the camera nice up and high over the heads of people to capture the shots that you need to get. Rich Harrington: Yeah, what I really like about this monopod is just that it's small and lightweight enough and it really gives me that stability. So we're going to talk about both stabilize shooting and overhead shooting, but this is a real basic lightweight traveling monopod and why don't you hold up the one have there? Robbie Carman: Yeah, this one is a little beefier.
On this one you'll notice that it's obviously thicker. It's beefier around. It also has a fluid video head on it. The head that you have on here is just sort of a ball head traditionally used in photography, but will work just fine. The problem with ball heads is that you can't really do nice smooth pans with them without having to unlock everything and it kind of wobbles around. With a fluid head like this, like a traditional video tripod would have, you can do nice smooth tilts and pans and stuff like that. The added benefit of this particular monopod is that it also kind of well looks kind of like a tripod, right? Is that it has this nice tripod base to give you even more stability, which we'll talk about in a later movie.
When you're using a monopod, stability is one of the things that you benefit from. Rich Harrington: So when we come back we're actually going to talk about how this can improve your shooting style with greater stability.
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