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Up and Running with DSLR Filmmaking

About limited latitude


From:

Up and Running with DSLR Filmmaking

with Chad Perkins

Video: About limited latitude

Chad Perkins: One of the biggest problems that I have with these little DSLR cameras is they have such a limited latitude. It basically means that the camera has a hard time taking in and correctly registering bright areas and dark areas at the same time. One or both of these areas usually suffer. To make matters worse, when you do have something that is too bright or too dark, it just looks terrible. Typically, what you want, even in blown-out areas, is a nice subtle gradation from white to darker tones.
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  1. 2m 10s
    1. Welcome
      1m 25s
    2. About the camera used in this course
      45s
  2. 11m 35s
    1. Understanding photography
      44s
    2. Understanding aperture
      1m 51s
    3. Trade-offs with aperture adjustment
      2m 32s
    4. Understanding shutter speed
      1m 26s
    5. Trade-offs with shutter adjustment
      2m 41s
    6. Understanding ISO
      44s
    7. Trade-offs with ISO adjustment
      1m 37s
  3. 6m 37s
    1. Understanding sensor size
      1m 19s
    2. Protecting highlights and native ISO
      1m 24s
    3. Getting a custom white balance
      2m 27s
    4. Focusing for video
      1m 27s
  4. 9m 24s
    1. Using lenses
      1m 51s
    2. Understanding wide lenses
      2m 39s
    3. Understanding long lenses
      2m 32s
    4. Getting shallow depth of field
      2m 22s
  5. 12m 34s
    1. Using graphs to gauge exposure
      2m 1s
    2. Recording audio
      2m 42s
    3. Using a clapperboard
      1m 13s
    4. Shooting a "flat" image
      51s
    5. Using custom color profiles
      54s
    6. Shooting slow motion
      1m 19s
    7. Getting a beautiful shot
      3m 34s
  6. 13m 33s
    1. Why use Premiere Pro for editing?
      1m 21s
    2. Transcoding video
      2m 29s
    3. Combining video and audio streams
      2m 7s
    4. Cleaning up noise and adding grain
      3m 26s
    5. Color correcting footage
      4m 10s
  7. 6m 1s
    1. About DSLR pitfalls
      30s
    2. Avoiding rolling shutter
      51s
    3. Avoiding moiré
      1m 6s
    4. About limited latitude
      1m 56s
    5. About extreme compression
      1m 38s
  8. 7m 27s
    1. Why you need a monitor
      58s
    2. Using a viewfinder
      52s
    3. Stabilizing your camera
      1m 43s
    4. Moving your camera
      35s
    5. Using a follow focus
      37s
    6. Using a matte box
      1m 8s
    7. Using neutral density filters
      1m 34s
  9. 1m 17s
    1. The future of DSLR video
      54s
    2. Final thoughts
      23s

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Up and Running with DSLR Filmmaking
1h 10m Appropriate for all Feb 18, 2013

Viewers: in countries Watching now:

Join Chad Perkins, an author and videographer, as he introduces the essential concepts and techniques necessary for shooting video with a DSLR camera. Targeted at beginning videographers and anyone interested in shooting better video, this course covers cinematography basics, DSLR pitfalls, important gear, and postproduction workflow. Along the way, discover how to choose lenses, record audio, and make shots more professional.

This course was created and produced by Chad Perkins. We are honored to host this content in our library.

Topics include:
  • Understanding aperture, shutter speed, and ISO
  • Using lenses as a tool in storytelling
  • Establishing focus for video
  • Achieving a shallow depth of field
  • Using equipment like clapperboards and matte boxes
  • Editing and color correcting footage
  • Using cinematography techniques to get beautiful shots
  • Avoiding rolling shutter and moiré
Subjects:
Video Filmmaking DSLR Video
Software:
Premiere Pro
Author:
Chad Perkins

About limited latitude

Chad Perkins: One of the biggest problems that I have with these little DSLR cameras is they have such a limited latitude. It basically means that the camera has a hard time taking in and correctly registering bright areas and dark areas at the same time. One or both of these areas usually suffer. To make matters worse, when you do have something that is too bright or too dark, it just looks terrible. Typically, what you want, even in blown-out areas, is a nice subtle gradation from white to darker tones.

But on DSLRs, when you blow out your highlights or also you shadows, you will get these lines where the tones instantly drop off. The camera just can't see anything in between this pure white and the slightly darker tones next to it. Because of that steep drop-off from blown out white to other tones, this problem could be next to impossible to fix in post-production. There is a little fix that might help. If you're using something like After Effects or Premiere or some other tool that has a Levels effect, you can go to the triangle on the far right side of the Histogram and then go to the triangle below that, it's called Output White triangle, drag that inwards to the left.

This reduces the brightness of the brightest parts of the image. And if you're lucky, this trick might smooth out that hard edge, then you could go back and universally brighten all the pixels. If you're still getting blown out highlights or super dark shadows, then use some of the other methods we've been talking about for adjusting exposure throughout this course, so adjusting the aperture, shutter speed, ISO, or you can try to block, or diffuse the light, or you could use a neutral density filter, which Brian will be talking about in the next chapter, which basically is a dark piece of glass that you put in front of the lens to lower the exposure.

But the limited latitude is something that it looks awful and amateurish when it shows up in footage. So make sure that you're doing everything you can do to preserve data in the highlights and shadows.

There are currently no FAQs about Up and Running with DSLR Filmmaking.

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