IntroductionWelcome| 00:04 | Brian Liepe: Welcome to this training series,
where we are going to get you all the info
| | 00:07 | you need to shoot great
video with a DSLR camera.
| | 00:10 | Chad Perkins: My name is Chad Perkins and this
here is Brian Liepe, the best cinematographer,
| | 00:17 | and camera person, and lighting person
that I have ever seen in my entire life.
| | 00:23 | And we are extremely excited to show you
the ins and outs of these amazing cameras.
| | 00:27 | Brian Liepe: Several years ago, Chad and I were
both shooting with these much more expensive
| | 00:33 | cameras in order to get the same
beautiful shots that these DSLR cameras can.
| | 00:39 | We needed a lot more
light and a lot more gear.
| | 00:42 | When DSLRs came out, it sparked a huge revolution in the
world of video. That huge rig cost almost $10,000.
| | 00:50 | This little camera gets more cinematic footage
and less light with less weight and for $500.
| | 00:56 | Brian Liepe: In this training we are going to
start from scratch with the basics of cinematography
| | 01:03 | and using different lenses.
| | 01:04 | Chad Perkins: From there, we will share with
you our experience in using these cameras
| | 01:09 | on set and also in postproduction, including
some of the problems that we've encountered
| | 01:16 | and what can be done to resolve them.
| | 01:18 | Brian Liepe: This course is going to be a great
education and tons of fun, so let's get started.
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| About the camera used in this course| 00:00 | Chad Perkins: There are many great
choices out there for DSLR cameras.
| | 00:03 | Nikon makes great cameras like the D800.
Panasonic makes the fantastic GH2.
| | 00:09 | Brian Liepe: But by far, the most popular DSLR
used in video are the cameras made by Canon.
| | 00:15 | Specifically the Canon 5D Mark II which this
is being shot on and the Canon 70, for that
| | 00:21 | reason those are the cameras we will be using.
| | 00:24 | Chad Perkins: The tutorials for this, as Brian
mentioned, are being shot with a Canon 5D Mark
| | 00:29 | II, but we will also be seeing footage throughout
this course with the Canon 7D and this Canon T2i.
| | 00:36 | Regardless of which camera you are using, the
concepts in this training series are almost
| | 00:41 | always going to be applicable
to all DSLRs that shoot video.
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1. Photography BasicsUnderstanding photography| 00:00 | Chad Perkins: Before we get into issues
specific to DSLR cameras we need to first talk about
| | 00:04 | the basics of photography, which are
also the basics of cinematography.
| | 00:08 | Brian Liepe: The three fundamental concepts
we are going to cover in this chapter are
| | 00:12 | aperture, shutter speed and ISO.
| | 00:15 | Each of these work together to achieve
proper exposure or brightness level.
| | 00:19 | Chad Perkins: With each of these three
attributes there are pros and cons, and as we go
| | 00:24 | throughout this chapter we are going to learn what
each of those things are and how to balance
| | 00:28 | those, how to balance those
trade offs to adjust exposure.
| | 00:31 | Brian Liepe: Learning to balance aperture,
shutter speed and ISO is really where you
| | 00:36 | get to become an artist
when working with your DSLR.
| | 00:39 | Let's dig a little bit deeper into
these three fundamental concepts.
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| Understanding aperture| 00:00 | Brian Liepe: Okay, so one of the most effective
ways to adjust your exposure in your camera
| | 00:05 | is by adjusting the aperture.
| | 00:07 | The aperture is a mechanism inside the lens
that's made up of a series of blades that
| | 00:11 | either let light in or keep it out.
| | 00:14 | Now you usually interface with
this aperture through your camera.
| | 00:17 | Chad Perkins: The openness of the aperture
is measured using a degree of measurement
| | 00:22 | called an f-stop.
| | 00:24 | Now because aperture is a function of the lens
exact settings will vary from lens to lens.
| | 00:31 | Now another feature of aperture is it controls
focus, so in other words your depth of field,
| | 00:36 | and we will talk about that a little bit later.
| | 00:38 | Brian Liepe: The unit of measurement that
represents the size of your aperture is called an f-stop.
| | 00:42 | That can be a little bit tricky because the lower the f-
stop number, the bigger the aperture, and vice versa.
| | 00:47 | The higher the f-stop number,
the smaller the aperture.
| | 00:52 | Now we've covered the basics of aperture, but
if you're curious, we are going to explain
| | 00:56 | a little bit more about the
technical details regarding f-stops.
| | 00:59 | Chard Perkins: The reason why f-stops increase
as the size of the aperture decreases is that
| | 01:05 | because F stands for fraction.
| | 01:09 | So if you have an f-stop of f/4, this really
means that the aperture is open to one fourth
| | 01:15 | of the size of the focal length of the lens.
| | 01:18 | Brian Liepe: So if we had a 100 mm lens and
our f-stop was a value of f/4, the aperture
| | 01:25 | diameter would be 25 mm.
| | 01:28 | If we increase the f-stop to f/8 on the same
lens, we are now closing the aperture to 1/8th
| | 01:34 | of its focal length.
| | 01:35 | So the diameter of the
aperture is now 12.5 mm.
| | 01:38 | Chad Perkins: In the next tutorial, we will
look a little bit more closely at how aperture
| | 01:43 | relates to focus.
| | 01:45 | We will also look at some of the pros and
cons of adjusting your exposure by using your aperture.
| | 01:51 |
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| Trade-offs with aperture adjustment| 00:00 | Chad Perkins: Personally my favorite way to
adjust exposure using the camera is with aperture.
| | 00:05 | Brian Liepe: Yeah, it's a great way to adjust
exposure because it's optical and not electronic,
| | 00:11 | like shutter speed or ISO.
| | 00:13 | You'll typically get better
results from optical adjustments.
| | 00:16 | Chad Perkins: One of the cool tricks with
aperture is that if we open it up, we let
| | 00:21 | a lot of light into the scene.
| | 00:24 | In this shot there really isn't much light
but because the aperture is open all the way,
| | 00:28 | and also because DSLR cameras are
super sensitive to light, the shot looks great.
| | 00:33 | Brian Liepe: Yeah that shot is pretty cool
but you'll notice that the objects in the
| | 00:37 | foreground or the objects just in front of
your subject and the objects just behind your
| | 00:41 | subjects are out of focus.
| | 00:44 | And that's what happens when you open up your
aperture, your depth of field decreases, which
| | 00:49 | means your plane of focus becomes more narrow.
| | 00:51 | So the distance in which objects
are in focus becomes more narrow.
| | 00:56 | Chad Perkins: So let's take
a look at these spheres.
| | 00:59 | Let's say that I wanted just
one of these spheres in focus.
| | 01:03 | What I would do in the real-
world is I would open up my aperture.
| | 01:07 | This reduces the in-focus area to a very shallow
plane allowing me to focus on just this one sphere.
| | 01:14 | Brian Liepe: All right Chad, nice spheres,
but let's looks at a real-world example.
| | 01:20 | In this shot, I'm shooting with my aperture
wide open, you can see that my subject is
| | 01:24 | in focus but everything beyond my
subject is out of focus completely.
| | 01:29 | Now I'm going to dial down my aperture in
this next shot and you can see that everything
| | 01:35 | is in focus. I've got great depth of field.
| | 01:40 | Now you're probably wondering, well if I adjusted
my aperture so much, why is my exposure looking
| | 01:46 | pretty similar in each shot?
| | 01:48 | Well that's because I'm using something called
a variable neutral density filter and we'll
| | 01:53 | talk about those a little bit later on.
| | 01:54 | Chad Perkins: Now one of the things that I'm
noticing here is that in this shot where the
| | 01:58 | aperture is wide open, everything seems a
little bit softer and has less contrast than
| | 02:04 | the other shot where the
aperture is more closed.
| | 02:06 | Brian Liepe: Yeah, there is an old adage that
says for any lens it will be most sharp two
| | 02:12 | stops down and lower from wide-open.
| | 02:15 | Chad Perkins: So in other words, when your
aperture is wide-open and also just one stop
| | 02:21 | down from that, it's going to be a little
bit softer then when the aperture is closed
| | 02:25 | the rest of the way.
| | 02:27 | So as you can see, aperture is a great way to
adjust exposure, but there are some trade-offs.
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| Understanding shutter speed| 00:00 | Brian Liepe: Videos comprised of series of
stills, whether you're shooting stills or
| | 00:04 | video, there is a digital shutter
that allows light to enter each frame.
| | 00:09 | Now back in the day, film cameras had a rotary
shutter disk and there was a wedge cut out of it.
| | 00:15 | Now the degree to which that wedge was open
determined how long each frame was exposed.
| | 00:22 | In these cameras, shutter
angle was measured by degrees.
| | 00:25 | Chad Perkins: DSLR's usually measure shutter speed in
units of time, typically fractions of one second.
| | 00:33 | Now if you slow down your shutter speed, you
will increase exposure because you're letting
| | 00:38 | more light into the
camera that hits the sensor.
| | 00:42 | But your motion blur will also be affected
which we'll talk about a little bit later.
| | 00:46 | Brian Liepe: As a standard, our frame rate
determines our shutter speed, and now that
| | 00:51 | we've learned that our shutter speed is
measured in time, a fraction of one second, we can
| | 00:56 | take the denominator in that fraction and
make sure that it's double our frame rate.
| | 01:01 | So if you are shooting at 24 frames per
second, your shutter speed should be 1/48.
| | 01:05 | If you're your shooting at 30 frames per
second, your shutter speed should be 1/60.
| | 01:11 | These DSLRs don't quite get to 1/48 if you
are shooting at 24 frames per second, so 1/50
| | 01:18 | will do just fine.
| | 01:20 | So we'll learn more about shutter speed and
how it affects motion blur and exposure in
| | 01:24 | the next movie.
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| Trade-offs with shutter adjustment| 00:00 | Chad Perkins: Shutter speed is another way
to adjust exposure but I almost never fiddle
| | 00:04 | with it. I usually keep it set at 1/50th of a
second, because I usually shoot 24 frames
| | 00:10 | per second. Sometimes if I shoot 30 frames per
second I'll go up to 1/60th, and if I'm going
| | 00:15 | to do slow motion, 60 frames per second, I
would do 1/120th of a second, but these cameras
| | 00:20 | typically only go to 1/125th of a
second, so I leave it set there.
| | 00:25 | And the reason why I don't adjust the shutter speed
that much is because of how it affects the motion blur.
| | 00:31 | Brian Liepe: Right, so motion blur is the
streaking or smearing of quickly moving objects
| | 00:36 | in a photograph or video.
| | 00:37 | It's a totally natural thing and it smooths
motion from frame to frame and even though
| | 00:43 | it may not be obvious, our
vision contains some motion blur.
| | 00:46 | Chad Perkins: So shutter speed
affects motion blur and exposure.
| | 00:51 | For example, if I were to speed up the shutter
speed then that's going to make the action
| | 00:56 | crisp because it decreases the motion blur,
but it also lowers the exposure which darkens
| | 01:02 | the image a little bit.
| | 01:06 | The opposite is also true. If we slow down
the shutter speed, then that allows more light
| | 01:11 | to hit the sensor and increases our exposure,
but it also adds more motion blur, kind of
| | 01:15 | makes things all creamy.
| | 01:17 | Brian Liepe: So if you are going to adjust
your shutter from the standard setting and
| | 01:21 | crank it up, you're going to get a really
crisp image like Chad said, and this may be
| | 01:26 | appropriate for scenes that have a lot of
action, or it's a highly dramatic scene, or
| | 01:31 | sports; it's just going to give that
edge to it and boost the intensity.
| | 01:35 | Now a way to amplify this effect is to shoot
this handheld, the foreground elements, the
| | 01:41 | background elements, the subject, they are all
going to kind of come together with this edgy look.
| | 01:45 | If you put the camera on a tripod and you
boost your shutter speed, yeah, it will still
| | 01:50 | be crisp when the subject is moving, but
the effect just won't quite be there.
| | 01:56 | Now if you open up your shutter and slow it down a
little bit, that can also create some cool effects.
| | 02:01 | It's going to be wispy and there is going to
be more blur, but you can affect your
| | 02:05 | footage this way and create a certain style.
| | 02:08 | Chad Perkins: Now sometimes this really isn't
that big of a deal. Recently, I went out with
| | 02:11 | my family to the zoo, we got some footage
at the zoo, and I was--I had my aperture
| | 02:16 | exactly where I wanted it. I had my ISO exactly
where I wanted it, and I was just getting animals
| | 02:21 | that were very lazy, that were not moving
very much, and so my shutter speed really didn't
| | 02:26 | matter. I could really make dramatic changes
to my shutter speed and it really didn't make
| | 02:30 | that big of a difference.
| | 02:31 | Brian Liepe: Now it's not the best way to
adjust exposure, but if you're going for a
| | 02:37 | different look with your motion
blur, then it might work for you.
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| Understanding ISO| 00:00 | Brian Liepe: ISO is a numerical scale that refers
to the sensitivity of a camera's sensor to light.
| | 00:06 | Now ISO is based on something called the exposure index,
which rates film stocks using a numerical value.
| | 00:13 | As you lower the ISO setting, the
sensor becomes less sensitive to light.
| | 00:18 | As you raise the ISO setting,
it becomes more sensitive.
| | 00:21 | Chad Perkins: Personally I get a little scared
adjusting ISO anymore than just a few increments.
| | 00:26 | When you increase the camera's sensor sensitivity
to light by bumping up the ISO, it adds noise,
| | 00:35 | which can be awful.
| | 00:36 | So in the next movie we'll look a little bit
more about how ISO relates to noise and also
| | 00:41 | to the colors of your image.
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| Trade-offs with ISO adjustment| 00:00 | Chad Perkins: In my mind, adjusting the ISO
is just a really dangerous thing to do, or
| | 00:04 | at least increasing the ISO is, and the reason
why is because as you increase the ISO, you're
| | 00:10 | making the sensor more sensitive to light
which sounds good and it has its benefits,
| | 00:15 | but also creates a much more noisy image.
| | 00:18 | Brian Liepe: DSLR noise is super ugly. It
moves poorly. It's got wonky colors. It's not
| | 00:25 | monochromatic and it's just best
to avoid it if at all possible.
| | 00:31 | And later on in this training we'll look at
some ways that you can decrease the amount
| | 00:36 | of noise in your footage
through some post-effects.
| | 00:40 | But again, let's just try to
avoid it when we're shooting.
| | 00:42 | Chad Perkins: Now another thing that happens
when you raise the ISO is that the colors
| | 00:47 | become less saturated and
just off a little bit.
| | 00:49 | And because of the extreme compression that
DSLR files go through, there is really not
| | 00:55 | that much you can do about it in post.
| | 00:57 | Brian Liepe: So if you are pressed for light
in a certain situation and you do crank up
| | 01:01 | your ISO, but it doesn't look like it has
affected your image much because the monitor
| | 01:06 | you're using doesn't show it, or your LCD screen
doesn't show it because it's too small, just
| | 01:11 | know that in post, when you look at that footage at its
full resolution, you're going to see some ugly noise.
| | 01:17 | Later in this training we're going to look
at something called native ISO, and that's
| | 01:21 | an ISO setting that works best for that
specific camera and creates the best quality image
| | 01:27 | with the least amount of noise.
| | 01:29 | So yeah, remember when your boost ISO you're
going to get noise, but it could help you
| | 01:34 | out in low light situations.
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2. DSLR BasicsUnderstanding sensor size| 00:00 | Brian Liepe: One of the reasons these DSLRs
have been such a huge hit is because of the
| | 00:04 | size of their sensor. They are really big.
| | 00:06 | This adds all sorts of benefits and one
of them being its sensitivity to light.
| | 00:11 | You can shoot in really low light situations.
| | 00:13 | Chad Perkins: Right, but another aspect of
the big sensors that these DSLRs have, is
| | 00:19 | the very shallow depth of field, and I
mean really shallow depth of field.
| | 00:25 | Now a lot times this creates beautiful images,
but sometimes this could be a real challenge
| | 00:30 | when you want to get everything in focus,
especially when you're shooting in really
| | 00:35 | bright conditions.
| | 00:36 | Now later on in this training series we'll
look at some ways to manage excessive light,
| | 00:41 | like when you're shooting outdoors, but
this is definitely something to consider.
| | 00:44 | Brian Liepe: The size of the sensor also
affects the area which the lens can see.
| | 00:48 | So in the Canon 5D we can see a lot more with
the same lens then we can on the 7D because
| | 00:54 | it has a smaller sensor.
| | 00:56 | Chad Perkins: So it's almost like the Canon
5D makes all of your lenses wider because
| | 01:01 | of a larger sensor?
| | 01:02 | Brian Liepe: Exactly! This also means that
with a 5D, we can achieve a much more shallow
| | 01:07 | depth of field than we can with a 7D.
| | 01:09 | So just beware that with these sensor sizes,
as big as they are on these DSLRs, some of
| | 01:14 | them bigger than 35mm film that
they can be a blessing and a curse.
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| Protecting highlights and native ISO| 00:00 | Chad Perkins: For most cameras there
is a sweet spot when it comes to ISO.
| | 00:05 | Basically what that means is there is ISO
settings that just get better results.
| | 00:08 | This is referred to as the native ISO.
| | 00:11 | Brian Liepe: So for Canon
cameras these are multiples of 160.
| | 00:16 | So 160, 320 and so on, which means you'll
probably get less noise at an ISO setting
| | 00:23 | of 320 then you will at 200.
| | 00:25 | Chad Perkins: One thing to be aware of, at
least on these Canon cameras at least, is
| | 00:30 | that for some crazy reason native ISO values conflict
with something called Highlight Tone Priority mode.
| | 00:39 | I love Highlight Tone Priority mode. It's
basically a way that we can manage highlights
| | 00:44 | and make them look better
with these DSLR cameras.
| | 00:46 | And we'll get into that a little bit more
when we talk about the limited latitude of
| | 00:50 | these DSLRs, but this is a real annoyance
because if we want to turn Highlight Tone
| | 00:55 | Priority mode on, it again
disables those ISO values.
| | 01:00 | Now a lot of professionals recommend that you
actually do that, that you turn off Highlight
| | 01:06 | Priority Mode so that you have access to
all those native ISO settings. I disagree.
| | 01:11 | From my experience, it's way easier to get
rid of a little extra noise than it is to
| | 01:16 | recover damaged highlights.
| | 01:17 | But the choice is yours whether you want to
have a little extra noise or damaged highlights.
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| Getting a custom white balance| 00:00 | Brian Liepe: Sometimes these cameras have a
hard time figuring out what pure white is.
| | 00:04 | Sometimes there is a green tint or a magenta
tint, or sometimes it's too warm or too cool,
| | 00:09 | and the white just isn't quite there.
| | 00:11 | Well white balance refers to the process
by which the camera interprets pure white.
| | 00:17 | Now once white is determined, these cameras are
built to then represent all colors accurately.
| | 00:23 | Chad Perkins: On most cameras you'll find
presets for white balance, for a variety of
| | 00:28 | common conditions.
| | 00:29 | You'll have Tungsten for standard warm
indoor lighting, or you might have daylight for a
| | 00:36 | coolish outdoor lighting, but to really get
the best white balance for your particular
| | 00:42 | shot, you'll want to do
a custom white balance.
| | 00:46 | Brian Liepe: So here is how you're going to
get a custom white balance in your camera.
| | 00:51 | First determine which source of light is dominant,
whether it's coming through a window, or it's
| | 00:56 | incandescent lamps inside a room, and place
your gray card underneath or in that light.
| | 01:02 | Make sure it's in the center of the frame
so the sensor can find it and snap a photo.
| | 01:08 | Once you do that, navigate to the Custom White Balance
option and choose the reference image you just took.
| | 01:15 | Hit OK and your camera will
calibrate itself. It's pretty cool.
| | 01:19 | Chad Perkins: My background is in post production,
so I'm frequently guilty of saying
| | 01:24 | that really annoying thing when we're
on set, like "oh just fix it in post."
| | 01:28 | But white balance is not one of those things
that you should wait to fix in post, and that's
| | 01:33 | because the compression on DSLR cameras is
so bad that there really isn't much room to
| | 01:38 | play with it much in post.
You've got to do this on set.
| | 01:42 | Brian Liepe: Throughout shoots, your lighting
conditions are most likely going to change,
| | 01:47 | whether you change the lighting conditions
yourself for a different scene, or you move locations.
| | 01:52 | So go ahead and just get another
custom white balance with your gray card.
| | 01:56 | Now there is an auto white balance feature
on these cameras and it actually interprets
| | 02:02 | white as you're shooting, and you can actually
see the color shift as different light sources
| | 02:09 | become dominant in your shot.
| | 02:11 | This is a terrible idea.
| | 02:12 | I recommend always setting
your custom white balance.
| | 02:17 | So just to reiterate, for the best possible
colors, grab one of these please and get custom
| | 02:25 | white balance off of this gray card.
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| Focusing for video| 00:00 | Chad Perkins: Focusing on a subject, especially
when you're using a DSLR with a large sensor
| | 00:04 | size and often has a shallow depth field, is
extremely important regardless of what you're shooting.
| | 00:11 | Brian Liepe: To get focus on your DSLR, in
movie mode move the white focus rectangle
| | 00:16 | to the area in the image
you want to be in focus.
| | 00:19 | Press the magnify button once for 5 times
magnification or twice for 10 times the magnification.
| | 00:25 | Spin the focus ring until
you've achieved focus.
| | 00:29 | Press the magnify button once more and it
will toggle back out to your original frame.
| | 00:33 | Chad Perkins: Most still photographers just can't
live without auto-focus, but as videographers
| | 00:40 | using our DSLRs, we don't have that luxury. We have
to pull focus with the focus ring on the lens.
| | 00:47 | But because of that, we could actually use
old school SLR lenses, like this one here
| | 00:52 | this old Nikon lens that I have, and you can
often find really high-quality lenses for
| | 00:57 | cheap, because you don't need them to have
auto-focus they just have manual focus.
| | 01:01 | So again, they are usually pretty
inexpensive when bought used.
| | 01:05 | Brian Liepe: In addition to the magnify feature, there
are a few things that will help you maintain focus.
| | 01:09 | Later on in this series we'll talk about a
monitor and how it can help you achieve focus,
| | 01:15 | and this contraption right here,
it's called a follow focus.
| | 01:19 | It will help you maintain
focus on a moving subject.
| | 01:22 | So remember these tools when
you're trying to achieve sharp focus.
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3. Understanding LensesUsing lenses| 00:00 | Brian Liepe: For those of you transitioning
from traditional camcorders like this one,
| | 00:04 | these DSLRs have one really big advantage that
I think you'll like, and that's the ability
| | 00:09 | to use different lenses or
interchangeable lenses. Boom!
| | 00:13 | Chad Perkins: Being able to switch lenses
is a huge game changer, especially if
| | 00:19 | you are a filmmaker, it just gives you so
much more control over how you tell your story.
| | 00:24 | Brian Liepe: So the quality of your image is
largely determined by the quality of your lens.
| | 00:30 | Now if you have a traditional camcorder and
you're limited or you feel limited by the
| | 00:36 | amount you can zoom, or its sharpness in some
areas, or its fastest aperture, you got to
| | 00:42 | go out and by a new camera.
| | 00:44 | With these DSLRs, you can just
go out and get a nice new lens.
| | 00:48 | Chad Perkins: Now of course the downside of
all of this is that these lenses can get really
| | 00:53 | pricey. I have several lenses including this
monster here that cost more than my entire
| | 00:59 | camera just by itself.
| | 01:01 | But as we go throughout this chapter and as
we learn more about these lenses and what
| | 01:05 | they can do, you'll see why these
things justify those big price tags.
| | 01:10 | Brian Liepe: Lenses come in a
vast variety of focal length.
| | 01:13 | The focal length is just the measurement
of magnification expressed in millimeters.
| | 01:17 | So the higher the number of
millimeters, the more magnified the image is.
| | 01:22 | There are two types of lenses; there
is the prime lens and the zoom lens.
| | 01:26 | With the zoom lens you
can vary the focal length.
| | 01:29 | In the prime lens the focal length is fixed.
| | 01:32 | You're probably wondering, why would you ever
put a prime lens on a camera? You can't change
| | 01:37 | the focal length. Well there are a few
advantages and to name some: they're sharper, they're
| | 01:43 | faster, which means you can open up the aperture
more, they represent colors and contours better
| | 01:49 | and there is lens vignetting.
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| Understanding wide lenses| 00:00 | Chad Perkins: Lenses are essentially grouped
into two basic categories: wide and long, or
| | 00:07 | in other words, telephoto.
| | 00:08 | Brian Liepe: Normal lenses have a
focal length of about 35 mm to 50 mm.
| | 00:14 | Now the term normal just means it has a field of view
that is closest to the way we see, with our eyes.
| | 00:21 | Now the field of view is just how much
of your scene is visible to the lens.
| | 00:27 | Now anything lower than
a 30 mm is a wide lens.
| | 00:32 | Wide angle lenses are great for big landscapes
or sweeping vistas. They are also really great
| | 00:38 | about providing you with a great
depth of field or everything in focus.
| | 00:43 | Chad Perkins: I also tend to use wide-angle
lenses when I want a subject to be particularly
| | 00:48 | comedic, or scary, or otherwise just look
ridiculous, because as you get a subject closer
| | 00:55 | to the lens, when you're
using a wide angle lens.
| | 00:58 | Then things tend to distort, which can be really
cool and a great effect if that's what you're are going
| | 01:04 | for, but if you're trying to make someone
look good be really careful with this effect,
| | 01:11 | because facial features and other things tend to
get distorted as you get closer to the lens.
| | 01:16 | See right here that's, that's not good.
That's not good.
| | 01:19 | So avoid that at all cost if you are
trying it again makes somebody look good.
| | 01:23 | Brian Liepe: Exactly! Wide angle lenses also have a
tendency to exaggerate the distance between objects.
| | 01:30 | So if you are shooting a horror film and
someone's running from the villain, you can exaggerate
| | 01:36 | the movements of the villain and
his speed with the wide-angle lens.
| | 01:39 | Chad Perkins: I also like to use wide angles
when I'm using cameras with a crop sensor
| | 01:44 | like this Canon 7D here.
| | 01:47 | The crop factor on these lenses are 1 and a 1/2
times what they would on a camera with
| | 01:52 | a full frame sensor, like the Canon 5D.
| | 01:55 | So a 50 mm lens on a Canon 7D would have about the
same field of view as a 75 mm lens on a Canon 5D.
| | 02:05 | Brian Liepe: One thing to keep in mind when
you're shooting with the wide angle lens,
| | 02:09 | is something called lens distortion. This
occurs in corners of the frame, where a
| | 02:15 | line that's meant to be straight actually takes on
circular characteristics; it's a little bit curved.
| | 02:20 | It could create a cool effect, but usually
it's undesirable, especially when you're using
| | 02:25 | a lot of compositing or visual effects.
| | 02:27 | Note that this is less of an issue in higher
end glass like the Canon L-series or this
| | 02:32 | Zeiss ZE18 mm.
| | 02:34 | Next, we're going to look at the other
side of the coin, long or telephoto lenses.
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| Understanding long lenses| 00:00 | Brian Liepe: We've looked at wide-angle lenses,
which have focal lengths up to 30 mm to 35 mm.
| | 00:06 | Now we're going to at the long lens or the
telephoto lenses that have focal lengths from
| | 00:11 | about 50 mm and up.
| | 00:13 | Chad Perkins: Just as wide angle lenses zoom
out so you could see more of what's going on,
| | 00:20 | telephoto lenses, often referred to as
long lenses, zoom in so you can get closer.
| | 00:25 | And also in the same way that wide-angle lenses tend to
expand subjects, so it expands the distance between objects,
| | 00:35 | telephoto lenses, or long lenses, tend to
compress the distance between subject and foreground
| | 00:40 | and other objects in your scene.
| | 00:42 | Brian Liepe: So again, going
back to the horror movie example.
| | 00:46 | If you are shooting a character running from
danger, you could use a long lens which again
| | 00:50 | compresses space. This would make the
character seem to run without traveling much distance
| | 00:56 | which can increase the tension.
| | 00:57 | Chad Perkins: So let's say you're shooting a
subject against a background in the distance.
| | 01:03 | If you wanted to bring this subject and background
closer together without actually moving anything,
| | 01:08 | you could just use a longer lens.
| | 01:11 | If you want the distance to between the
objects to remain the same, but you wanted to be
| | 01:16 | closer to the subject, you would want to actually
physically move closer to the subject.
| | 01:23 | Or if you want to make it seem as if the talent was
closer to danger than they are, a long lens
| | 01:27 | might be a good choice there as well.
| | 01:31 | Another benefit of using a long lens is that you
generally get a better shallow depth of field effect.
| | 01:36 | If for example you want to create some
beautiful Bokeh, which is what we refer to the out of
| | 01:41 | focus areas of the image.
| | 01:44 | Then you probably want to
use a longer lens for that.
| | 01:48 | Wider lenses have a really tough time getting
beautiful bokeh regardless of whatever
| | 01:52 | camera settings you're using.
| | 01:53 | Brian Liepe: One last word of warning
when using a telephoto lens;
| | 01:57 | the longer the focal length the more
sensitive to movement the lens becomes.
| | 02:02 | So if you're dialed in on a long focal length
and you're moving a little bit, you may not
| | 02:06 | feel it that much, the lens is
really going to see that shakiness.
| | 02:10 | Here's a hand-held shot with a wide-angle
lens. The shake is noticeable but it doesn't
| | 02:15 | ruin the shot. Here's the same
exact shot with a really long lens.
| | 02:19 | And the shake makes the
shot unusable as it is.
| | 02:24 | The use of different lenses provides so many
creative options, not only for magnification,
| | 02:30 | but for storytelling as well.
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| Getting shallow depth of field| 00:00 | Chad Perkins: So we've been talking here and
there throughout this training series about
| | 00:04 | getting that coveted
shallow depth of field look.
| | 00:07 | We thought it might be nice to just kind of
combine all those tips and tricks and add
| | 00:11 | little bit more to the story in this
tutorial about getting a shallow depth of field.
| | 00:16 | Brian Liepe: One of the first steps in
achieving that really cool shallow depth of field look
| | 00:21 | is choosing the right lens.
| | 00:22 | I like to use a lens that has a
focal length of 50mm or higher.
| | 00:27 | Now it not impossible to get a shallow depth
of field with a focal length less then that
| | 00:32 | and we'll definitely teach
you more about that later on.
| | 00:35 | It's just easier using a telephoto lens
because it magnifies those out of focus areas, and
| | 00:40 | it just makes getting this look a lot easier.
| | 00:42 | Chad Perkins: The next step in achieving shallow depth
of field, is we want to of course open up the aperture
| | 00:47 | as much as possible, because again, as we open
up the aperture we're going to shrink that
| | 00:52 | area of focus, and that's what creates
that cool shallow depth of field effect.
| | 00:57 | But again, remember also that as the aperture
is wide open, at that stop and then next stop
| | 01:02 | down, it's going to be a little
softer then the other stops.
| | 01:06 | Now that maybe okay in some instances, that
might be a tradeoff, but just again be aware
| | 01:11 | that that's going to happen.
| | 01:12 | Brian Liepe: One of the final steps in
achieving shallow depth of field is to make sure that
| | 01:17 | the objects in your frame vary in distance
in relation to the camera and each other.
| | 01:22 | Even on an iPhone, I can take a photo of an
object close to the lens, focus on it and
| | 01:27 | my background will go out of focus
giving me shallow depth of field.
| | 01:31 | That's because the subject I'm
focusing in is far away from the background.
| | 01:35 | Now if I have a lot of objects in my frame
that share the same focal plane, it's going
| | 01:40 | to be hard to tell if I
have shallow depth of field.
| | 01:44 | So go ahead and breakup your objects,
| | 01:47 | maybe by placing something in the foreground.
Chad go ahead and raise that, that tripod up.
| | 01:51 | I think it just makes things more interesting when you
can break them up using shallow depth of field.
| | 01:55 | Chad Perkins: Now one final tip is that highlights
look absolutely beautiful when they are out of focus.
| | 02:05 | Now of course you have to be tactful and use
discretion with this trick, you don't want
| | 02:10 | to over kill this thing.
| | 02:12 | But being able to create that shallow depth of
field especially with the beautiful highlights
| | 02:17 | is an amazing effect that we
strongly encourage you to master.
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|
|
4. In ProductionUsing graphs to gauge exposure| 00:00 | Chad Perkins: Some DSLR cameras, such as the
Canon 5D and a Panasonic GH2, have an on screen
| | 00:06 | histogram which can really help you
gauge the exposure of your shot.
| | 00:10 | To enable this on the Canon 5D, go to the back
of the camera and click on the Info button
| | 00:14 | a few times to cycle through the info modes, and
eventually you will get to the mode with the histogram.
| | 00:20 | This histogram is a read out of the
luminance or brightness levels in your shot.
| | 00:25 | From left to right we have
shadows, mid tones and highlights.
| | 00:30 | The height of the graph in these areas shows you how
much of that particular luminance range you have.
| | 00:37 | So this histogram suggests that our shot
might be a bit too dark--certainly got a lot of
| | 00:41 | shadows and not much in the way of highlights.
| | 00:45 | This shot on the other hand suggests the opposite;
lot of bright areas and not much shadow detail.
| | 00:50 | Using a histogram could help you make sure
that your image is balanced and could help
| | 00:54 | you prevent blowing out
highlights or crushing shadows.
| | 00:59 | If your DSLR doesn't have a histogram, that's ok, it
will still have a light meter called a spot meter.
| | 01:07 | Now these light meters aren't as good and
incident meters, which are actually physical
| | 01:12 | things that you hold, and they actually get a
reading of how the light falls in an exact spot,
| | 01:18 | but the light meter in your camera is just good for
getting an overall sense of the light in your shot.
| | 01:24 | One final tip here, some people like to under expose by
just a little bit--I'm actually one of those people,
| | 01:31 | because I can then brighten things up back
in post. I usually go one, maybe two tiny
| | 01:37 | little notches down on the exposure meter
on the camera. If you go any more that, you
| | 01:41 | are going to get noise. It's going to be ugly.
| | 01:44 | But having that image a little bit darker is
just better then making things too bright.
| | 01:50 | Whether you use a histogram, the camera spot
meter or a physical incident light meter to
| | 01:55 | gauge exposure, I highly recommend
getting a reading before every shot.
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| Recording audio| 00:00 | Brian Liepe: There definitely are some
challenges when recording audio with a DSLR.
| | 00:05 | Many of the cameras don't have any manual
audio recording features. They use something
| | 00:08 | called AGC, Automatic Gain Control.
| | 00:12 | Which automatically adjusts the volume at
which audio is recorded as it's being acquired.
| | 00:18 | This can create some undesirable results.
| | 00:22 | The automatic level adjustment just isn't fast
enough to anticipate rapid changes in volume.
| | 00:29 | There are three ways to avoid AGC: one, buy
a camera with manual audio controls, like
| | 00:35 | the Canon 5D Mark II and
III or the Nikon D800.
| | 00:40 | Two, record to an external
audio recorder like the Zoom H4n.
| | 00:45 | To do this, plug a shotgun
mic directly into the Zoom,
| | 00:55 | set your levels, and record high
quality audio to an SD card.
| | 01:07 | If your camera has an option for manual
audio recording, switch it to automatic, so that
| | 01:12 | your camera records a reference track.
| | 01:15 | Before each shot, press the Record button on the
Zoom H4n or an audio recorder, using this
| | 01:21 | method you could then sync audio later and
post using an application like PluralEyes.
| | 01:27 | Three, if your DSLR has manual audio
recording features, you can record to both your DSLR
| | 01:34 | and external audio recorder simultaneously.
| | 01:37 | This is definitely what I recommend. Using a
mixer, you can go from your mic into a mixer,
| | 01:45 | then from the mixer you can send two output
signals; one to the audio recorder and the
| | 01:51 | other to the DSLR.
| | 01:53 | This will really help you sync up the audio
in post, because the reference track from
| | 01:57 | your DSLR will be very high-quality.
| | 02:00 | Now remember most low end audio recorders
can only take a mic level input same with
| | 02:06 | the DSLRs, so when you're sending an output
signal from your mixer you need a LINE level
| | 02:12 | to MIC level pad converter like this one here.
| | 02:16 | To send a line to your DSLR you'll
need a female XLR to 1/8 jack adapter.
| | 02:26 | Once you've done this, send a 1 kHz tone to
both the recorder and the DSLR, set your levels
| | 02:32 | to approximately -20 DB on both devices and
you're ready to rock. This is how we're recording
| | 02:39 | the audio for this tutorial right now.
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| Using a clapperboard| 00:00 | Brian Liepe: Traditional film cameras don't
have the ability to record audio, so they've
| | 00:03 | had to record audio with an external recorder
and then sync them up in post production.
| | 00:08 | Because external audio recorders are also
common with DSLR cameras, we have to sync
| | 00:12 | up the audio and video in post as well.
| | 00:16 | One of the most common tools for syncing audio
and video is the use of a clapper board, also
| | 00:20 | called a clapper or slate in production.
| | 00:23 | It is common on sets to use a clapper
board app for the iPad or other tablet.
| | 00:29 | You can input info about the production and
the shot, and then have it click like this.
| | 00:38 | This gives you a visual reference, so that
you can sync the audio and video later.
| | 00:43 | In a pinch, you can just have someone that
clap their hands in front of the camera.
| | 00:48 | The key is to just do something that makes a
distinct noise that you can see on camera.
| | 00:53 | One last tip: set your date and time in your
camera to match the clock on your slate.
| | 01:02 | Although these cameras don't generate time
code you can set the clock in your camera
| | 01:06 | to your slate app so that in post you can
see which clips correspond with the clock
| | 01:11 | on your slate.
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| Shooting a "flat" image| 00:00 | Chad Perkins: The default setting when shooting
with DSLRs creates a high contrast, but beautiful
| | 00:05 | image and that might be great for you.
| | 00:07 | But the down side of that is it doesn't leave you
much if any room to make changes later in post.
| | 00:14 | Because of this I
personally prefer to shoot flat.
| | 00:18 | In other words, I actually want an image that
is as washed out as possible. I don't want
| | 00:22 | bright highlights or dark shadows.
| | 00:24 | This ensures that I have as much detail as
possible in both the shadows and the highlights.
| | 00:29 | If you ever seen dailies from film shoots,
you seen a very washed out image there too.
| | 00:34 | It's just generally a good idea to get as
much information captured as possible, and
| | 00:39 | shooting flat is one of the
best ways you can do that.
| | 00:44 | Next, Brian is going to show you how to actually
shoot flat, how to do it, and how to customize
| | 00:49 | the look of the footage you capture.
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| Using custom color profiles| 00:00 | Brian Liepe: One way to assign your own color
and contrast characteristics to your image
| | 00:04 | is by setting up your color profiles.
| | 00:07 | Although I recommend shooting with a flat
color profile like the one Chad discussed
| | 00:12 | in the previous movie.
| | 00:13 | There is a large range of options that allow you
to affect your footage by adjusting controls,
| | 00:18 | like saturation, contrast,
sharpness, and color phase.
| | 00:22 | In this example, you can see that color is not very
vibrant or saturated and the contrast is really low.
| | 00:28 | In the next shot I've cranked up everything. The
colors are outrageous and the contrast is really steep.
| | 00:34 | You can also see that I've
lost some of my dynamic range.
| | 00:37 | Remember when you increase the contrast you
compromise the camera's ability to maintain
| | 00:42 | information in the shadows and the highlights.
| | 00:45 | You can also find online color profiles that
other people have made that help you achieve
| | 00:50 | certain looks and styles, such
as those that resemble film.
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| Shooting slow motion| 00:00 | Chad Perkins: Few things in life are more
beautiful than a nice slow motion shot.
| | 00:06 | Slow motion really just helps accentuate an
action, calling attention to it and demanding
| | 00:11 | an audience's focus.
| | 00:14 | Most DSLRs have the capability of shooting slow
motion, depending on the frame rate you are using,
| | 00:18 | so assuming that your project is a 24 frames
per second project, even shooting 30 frames
| | 00:25 | per second creates a 25% slower product.
| | 00:29 | Many DSLRs go up to 60 frames per second which
creates at least a 50% slower video if your
| | 00:34 | project is either 24 or 30 frames per second.
| | 00:38 | Remember that if you change your frame rate to
60 frames per second you also need to increase
| | 00:43 | the speed of your shutter to 1/125th of a second which
will probably lower your exposure, so plan for that.
| | 00:50 | Beware also that in order crank up the frame
rate to 60 frames per second, many of these DSLRs
| | 00:55 | force you to lower the resolution.
| | 00:58 | This will create a mismatch between
the other footage that you've shot.
| | 01:02 | So you will then have to either scale up the slow
motion footage to match everything else, which
| | 01:07 | actually is a terrible idea, or more than likely
you will have to scale everything else down.
| | 01:13 | So slow motion footage is incredible but
there definitely is a price to pay for it.
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| Getting a beautiful shot| 00:00 | Chad Perkins: In this video we're going to do
something kind of unique and pretty awesome.
| | 00:05 | What we're going to do is we're going to
take a regular old ugly shot like this,
| | 00:10 | and we are going to show you some real-world
easy things to do to make it absolutely beautiful.
| | 00:16 | Before we get started, let's
introduce our beautiful model Kelsey.
| | 00:20 | And Kelsey Tiger is a good friend of ours
and she's worked with me on this iPad app
| | 00:25 | that I did. She played the lead,
| | 00:27 | and she's also on the
cover of one of my books.
| | 00:29 | And she's just an amazing model to work with.
| | 00:31 | Brian Liepe: We started out with the subject
against a wall, no lights and a 24 mm lens
| | 00:37 | which shows some
distortion in our subject's face.
| | 00:40 | So we moved her away from the wall, moved the
camera back, and threw on a 35mm lens.
| | 00:48 | This gave us more depth and
lessened the distortion in her face.
| | 00:53 | We then turned off the practical lights, which
are just the light fixtures that are built
| | 00:57 | in to the building, because
they just looked awful.
| | 01:01 | We lit her using two soft LED lamps jelled
with Lee 216 filters, and then we shot the
| | 01:08 | lamps through a silk for extra softness.
| | 01:12 | We added a light behind her jelled with a
diffusion material called opal, that gilded
| | 01:17 | her hair and her shoulders.
| | 01:20 | Chad Perkins: So the lighting is beautiful,
but there is more to a beautiful shot than
| | 01:26 | just the lighting.
| | 01:28 | We have to worry about
something called production design.
| | 01:31 | Production design is basically what the set
looks like, what the environment looks like.
| | 01:35 | So what we decided to do is get our model all
dolled up, we got her with beautiful hair,
| | 01:40 | makeup, we changed her clothes.
We just got her looking great.
| | 01:45 | And then we also look at our background. The
background just is plain old black so let's
| | 01:48 | add some lights to it. Let's put some beautiful
little lights in the scene and that definitely
| | 01:53 | improved the quality of our shot.
| | 01:55 | Brian Liepe: After all of that, we thought, we want
our out of focus area to pop a little bit more.
| | 02:01 | So we backed the camera up, brought the subject
even further away from the background and
| | 02:05 | threw on a telephoto lens.
| | 02:09 | We then opened up the aperture even more,
so could get those highlights to pop.
| | 02:13 | Chad Perkins: Another really important
concept when getting a great shot is that you want
| | 02:19 | to worry about the foreground, the
middle ground, and the background.
| | 02:23 | Well we already have the cool lights in the
background. We also have the talent in the middle area.
| | 02:28 | We don't really have
anything in the foreground.
| | 02:31 | So we thought we'd add just a little
bit of stuff right here in the foreground
| | 02:35 | and it'll go out of focus and
look all pretty like that.
| | 02:38 | And now we have this great sense of depth
in our shot; something in front, in the
| | 02:42 | middle, and in the back.
| | 02:44 | Brian Liepe: So we use those layers and thought
okay, let's make this even more cool and add
| | 02:50 | a slight camera move.
| | 02:52 | You can see the foreground elements move and
it really accentuates the depth that we made
| | 02:57 | by backing up the camera, and putting the
subject further away from the background, and then
| | 03:02 | adding this foreground element.
| | 03:03 | And we just moved camera slightly.
| | 03:06 | Then we added some blocking for our
model, and voila, we got a pretty shot.
| | 03:12 | We did things in this order so that our
changes were obvious. In a professional environment
| | 03:18 | getting the shot is influenced heavily by
the amount of time it takes to set up.
| | 03:24 | So usually it's more efficient to first set up
framing, then light, and your team will have
| | 03:29 | already taken care of things like
wardrobe and production design.
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|
|
5. PostproductionWhy use Premiere Pro for editing?| 00:00 | Chad Perkins: In this chapter, we are going to
head to the computer and look at DSLR video
| | 00:03 | files in postproduction.
| | 00:05 | Throughout this chapter, I am going to be
using Adobe Premiere Pro which is my video
| | 00:09 | editor of choice.
| | 00:11 | The reason why it is, because this codec is
very tough for video editing systems to use.
| | 00:19 | It's often very slow and so the footage often
has to be transcoded or re-encoded to a different
| | 00:25 | format in order to be usable.
| | 00:27 | But with Premiere, I can just drag and
drop and use these files in my timeline.
| | 00:33 | As you can see, Premiere
handles these files like a champ.
| | 00:36 | This is RAW H.264 files
straight from the camera.
| | 00:39 | And as a matter of fact, I actually used Adobe
Premiere Pro to edit this entire course and
| | 00:46 | add the b-roll and everything that I had
to do with this course and everything.
| | 00:50 | As you could tell, it's kind of a
mess, editing this footage together.
| | 00:54 | But Adobe Premiere Pro at
least handled it really well.
| | 00:58 | Brian and I, not so much. We didn't do so great, but
Premiere was a champ handling these DSLR files.
| | 01:05 | And while there are many great video editing
solutions to use, again I prefer to use Premiere.
| | 01:11 | Regardless of which software application you
use to edit your video footage, the concepts
| | 01:16 | that we talk about in this chapter
will be universally applicable.
| | 01:19 | So don't worry if you don't use Premiere.
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| Transcoding video| 00:00 | Chad Perkins: As I mentioned in the last movie,
I prefer to use Premiere because I can just
| | 00:03 | bring in H.264 files and
just get to editing them.
| | 00:08 | But you may prefer a different editing
system or you may prefer to transcode your files
| | 00:13 | anyway, so that they run
smoother even in Premiere.
| | 00:17 | If you're using Adobe products, you might
want to use the Adobe Media Encoder. And you
| | 00:21 | can just drag and drop files from your computer's
operating system, either Explorer or the Finder
| | 00:26 | on the Mac, just drag them here and then you
could change the format through this drop down
| | 00:31 | and you could change or use
a series of presets.
| | 00:35 | You could also change where you are going
to save it, and whenever you're ready you
| | 00:38 | just click the Play button.
| | 00:39 | And whatever files you have loaded here into
this window, will render one after another.
| | 00:44 | Now as I mentioned, the H.264 files that most
DSLRs create are really tough on editing systems.
| | 00:52 | Even with Premiere, if you start adding a bunch of
effects, it's going to start slowing things down.
| | 00:56 | So usually, if you are going to re-encode the
footage, you want to use the most efficient
| | 01:00 | editing codec possible.
| | 01:02 | Perhaps the most popular format for transcoding is a
QuickTime file that uses the ProRes series of codecs.
| | 01:13 | These are really high-quality files that are
just really easy for editing systems to use.
| | 01:18 | Now in order to use the ProRes codec when
encoding footage, you will need to have either
| | 01:23 | Final Cut Pro or Compressor
installed on your system.
| | 01:28 | If you don't have those installed, you can
go over to the Apple App store on a Mac, if
| | 01:33 | you're a Mac, and get Compressor which will
install not only the software compressor which
| | 01:38 | is kind of like Adobe Media encoder, but
just different; it's Apple's version of kind of
| | 01:43 | like Adobe Media encoder,
re-encoding software.
| | 01:45 | But it also will install the ProRes codecs.
| | 01:50 | Now if those aren't options for you or if
you're on a PC, I might recommend going to
| | 01:54 | cineform.com and getting
something called NeoScene.
| | 01:58 | This will allow you to encode AVI
files that are CineForm AVI files.
| | 02:04 | So it's kind of like the best possible
equivalent on a PC of Apple's ProRes.
| | 02:10 | Now again, it's not always necessary to transcode
and it does take a long time for the workflow,
| | 02:15 | but then when you're editing,
it's just so much smoother.
| | 02:19 | So it's your choice whether to use an editing
suite like Premiere where you could just dump
| | 02:23 | the files and start going, or if you would
like to transcode to get things moving a little faster.
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| Combining video and audio streams| 00:00 | Chad Perkins: As Brian mentioned earlier in
this training series, the best possible way
| | 00:04 | to get good quality audio is to record through
a separate audio stream, and because of that,
| | 00:12 | those video and audio streams have to be re-
synced together in post, which if you have ever done
| | 00:18 | that before, it's just a nightmare. It's so
tedious and it takes so long, and it's almost
| | 00:23 | impossible to get exactly right.
| | 00:25 | Well, there is this great tool called PluralEyes from
Red Giant software and this is just an amazing product.
| | 00:34 | Here's how this works.
| | 00:36 | In PluralEyes, I can select Camera and
then I import all of my video footage.
| | 00:42 | Now this video footage needs to have kind of
like a scratch audio track, just basically
| | 00:46 | using the camera's really terrible
microphone built-in is totally fine.
| | 00:53 | Once we have imported our video, we click on
the Audio Recorder and bring in the high-quality
| | 00:58 | audio, which we can do by clicking
this little plus icon by the way.
| | 01:02 | So now I have in here a load of video and a
load of audio and how they match up, I don't
| | 01:09 | know, we were not doing a very good job of
slating, or in another words using a clapper
| | 01:14 | board, and it was just totally a mess.
| | 01:18 | But it doesn't matter when
you are using PluralEyes.
| | 01:20 | All you have to do is import all the video
and all the audio, you don't even have to
| | 01:24 | connect the two together and all you have
to do is just click the Synchronize button
| | 01:28 | and like magic, PluralEyes will find out which video
clips correspond to which parts of the audio files.
| | 01:35 | And it will make all new video files for you.
| | 01:38 | You could also import timelines from
Premiere or other video editors and you could also
| | 01:45 | export the timeline with the
new audio and video files.
| | 01:49 | Now some video editing programs, like Final
Cut Pro 10, have this similar functionality
| | 01:55 | at least built-in.
| | 01:57 | But really, this is the best way to do it and
this is kind of like the industry standard
| | 02:02 | when you are synching video and
audio streams with DSLR footage.
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| Cleaning up noise and adding grain| 00:00 | Chad Perkins: So as we have talked about before,
noise is a terrible thing and you want to
| | 00:04 | avoid it in your footage at all costs.
| | 00:06 | But sometimes there's conditions where you
might not have time to set up enough light
| | 00:11 | or whatever else is going on, and you just end up
with noise, and you've got to get rid of it.
| | 00:15 | So there are a few tools that are brilliant and
amazing that we can use as a last-ditch resort.
| | 00:21 | So here is my footage with noise and I'm hoping
that through the compressed footage that you're
| | 00:27 | watching this on, that you can tell how
badly this is just reeking of noise.
| | 00:33 | So one of my favorite tools is the Denoiser II by
Magic Bullet which is sold on redgiantsoftware.com.
| | 00:41 | And all you have to do is drag and drop it, and
you could see already, as I have been talking,
| | 00:46 | it cleaned up everything and it's done.
| | 00:48 | So as long as the resolution is full, and I
am here in After Effects, but it also works
| | 00:53 | in Premiere and other hosts, but all we have
to do is just change my Resolution to Full
| | 00:58 | and once it's applied, it
automatically cleans up my footage.
| | 01:01 | Now there is still noise there.
| | 01:04 | As we render this, you'll see that it's
impossible to completely clean up the footage without
| | 01:08 | degrading the quality, but
it does an amazing job.
| | 01:12 | Now in most cases your noise will not be this
bad, so when you apply Denoiser, it's going
| | 01:17 | to be amazing and it's
going to be perfect for you.
| | 01:20 | So then what you will want to do at that point
is actually add noise back in because sometimes
| | 01:24 | these denoising applications can remove too
much noise, making the footage look kind of
| | 01:29 | sterile, and especially if you are trying to make
something look filmic, film stuff has grain.
| | 01:34 | So what I would like to do in After
Effects is add grain with the Add Grain effect.
| | 01:38 | This is much slower to render,
but it's much more filmic grain.
| | 01:42 | We could use a preset here, I don't
know, Kodak Vision 500T for example.
| | 01:48 | Really grainy, so I am going to
take the Intensity down to 0.2.
| | 01:52 | So it's very subtle here, but it does give
some life to our footage and some texture.
| | 01:56 | And I will change the viewing
mode from Preview to Final Output.
| | 02:01 | Now we have some nice
filmic grain in our footage.
| | 02:05 | It's not overbearing. It doesn't make it
look gross, and especially when viewed at size,
| | 02:10 | I will take off my region of interest here,
it just makes everything look very authentic,
| | 02:18 | very organic and real, the way film might.
| | 02:21 | Here is that footage played back now, we
rendered it and maybe that's a little noisy.
| | 02:27 | So we could take this down a little bit more.
| | 02:30 | But again, these settings usually work when
you're adding back a little bit of noise or
| | 02:34 | grain to a footage that has
been cleaned up with noise.
| | 02:37 | Now you might not have Denoiser
II. There is an alternative.
| | 02:41 | If you go to a neatvideo.com you can get Neat
Video which is very similar. You can use it
| | 02:48 | with Premiere. You could use it with After
Effects. You could also use it with a host
| | 02:52 | of other video applications here.
| | 02:55 | And don't let the website, that looks like it
was created in 1998 fool you. This plug-in
| | 03:01 | is actually incredibly powerful and very
amazing, and it also has sharpening built-in as well
| | 03:09 | which is something that often needs--that you
need to do after you clean up noise and grain.
| | 03:14 | So again, I repeat that it's best to avoid
noise when shooting as much as possible, but
| | 03:19 | for those times when you do have a little
bit of unexpected noise creep up and post,
| | 03:23 | these are the best tools to get rid of that.
| | 03:26 |
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| Color correcting footage| 00:00 | Chad Perkins: In this tutorial, we are going
to look a little bit at color correction.
| | 00:03 | As I have mentioned several times before, I
really like to shoot flat, in other words
| | 00:07 | I don't want really dark shadows. I don't
really want bright highlights. I want it look
| | 00:12 | as washed out as possible, like this image
here, and now I could show you a little bit
| | 00:17 | more closely why I like that.
| | 00:18 | I am going to apply the Levels effect,
I am here in Adobe After Effects.
| | 00:21 | Again, you don't have to be here, but this
is a good way to kind of describe and show
| | 00:26 | you what I'm talking about here.
| | 00:28 | So I apply the Levels effect, and I have this
histogram that gives me a readout of my shadows,
| | 00:34 | midtones and highlights.
| | 00:37 | As you can see here by the flat level, we
really don't have too much shadow detail here,
| | 00:43 | and we don't have much highlight detail.
Everything is washed out, which again, is great.
| | 00:48 | So I can drag this slider in, the Input White
triangle and I could drag it until there is data here.
| | 00:56 | Do the same thing with the shadows, drag the Input
Black, until we reach some information there.
| | 01:04 | And then I could adjust the Gamma slider,
which adjusts the midtones, which I got to
| | 01:08 | the right, make that a little bit darker.
| | 01:11 | And now--actually maybe this is blown
out a little bit next to his hair here.
| | 01:17 | But now we have a good balance of color.
| | 01:20 | We could play with the midtones a little bit,
but the point is, is that we have room to
| | 01:24 | play with the highlights here. We could see
all the detail in the sky, and we could see
| | 01:29 | all the details in the shadows in his
shirt, so nothing is crushed or blown out.
| | 01:34 | So even though these cameras have a really
limited dynamic range, because we shot so
| | 01:39 | flat, we have a lot of room to move this
around before it starts looking ugly.
| | 01:43 | Of course then we could apply may be a Curves
effect and really get into a more detailed
| | 01:50 | color correction where we maybe go to the
Red channel and make this a little bit more
| | 01:54 | warm, or we could maybe go to the Blue channel,
make this a little bit more cool if we wanted
| | 02:00 | to, or we could go back to the Red channel
and suck some of the red out if we want this
| | 02:05 | to be more like intense, like Hollywood
action movie or something like that.
| | 02:11 | But again, because we shot flat, we
are going to have less problems.
| | 02:15 | There is a little bit of a highlight here,
again, it's driving me nuts, and so I might
| | 02:19 | want to take down the Highlight Correction
a little bit just to smooth that out, but
| | 02:24 | again the point is, is that we have a lot of
flexibility here because we shot so flat.
| | 02:28 | Now let's look at another example here
where I didn't shoot quite so flat.
| | 02:32 | I didn't have all of the filters that Brian
was talking about where I could get rid of some
| | 02:37 | of that light, and it was like a really quick
situation where we didn't have much time to
| | 02:42 | shoot, so we just kind of, what they call, run
-and-gun, where you are just going to grab
| | 02:45 | the camera and go for it.
| | 02:47 | So what's going on here is that if I reset
my Histogram, we can see that the highlights
| | 02:56 | here are already blown out. We already have
pure white in our image and a lot of it.
| | 03:02 | So we can move our shadow endpoint here, the
Input Black slider in and that gives us back
| | 03:07 | our shadow detail.
| | 03:09 | And we could also darken the image using the
Gamma slider and now it looks a lot better.
| | 03:15 | So here is before and after.
| | 03:17 | But the problem is, is that his red shirt is
a little bit glowy. It's bouncing off the
| | 03:23 | light in a weird way and it's the most
eye-catching thing in the whole shot.
| | 03:28 | And I can tone that down a little bit with
the Output White slider as we talked about,
| | 03:33 | but it really doesn't do
too much good in this case.
| | 03:36 | So we're stuck with a shot that probably
could be better, but again we really don't have
| | 03:41 | the flexibility because when this image was
captured, there was just too much in the way
| | 03:46 | of highlights, and so, we have this posterization
here, this like hard edge where the highlights
| | 03:53 | blow out and again we have this way too
bright red here in his shirt and there's just not
| | 04:00 | much we could do.
| | 04:01 | So I hope that now that we have gone through
some of these color tools a little bit more
| | 04:04 | closely, that it's a little bit more clear why it's
so important to me to shoot a flat, washed-out image.
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|
|
6. Common DSLR PitfallsAbout DSLR pitfalls| 00:00 | Chad Perkins: Hopefully, you have
seen how great these DSLR cameras are.
| | 00:04 | They are just so small and just adorable.
| | 00:07 | And they are also ridiculously inexpensive.
| | 00:10 | But there is a downside to all of this; these
cameras were not created to be used for filming
| | 00:16 | movies or in professional video production.
| | 00:19 | And yet that's where the
world has decided to use them.
| | 00:22 | So before you jump into using these cameras,
let's take this chapter and look at a few
| | 00:26 | problems you are likely to
encounter while working with them.
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| Avoiding rolling shutter| 00:00 | Chad Perkins: Many DSLR cameras
have something called a CMOS sensor.
| | 00:04 | The CMOS sensor looks at your image a line
at a time, and it doesn't often read and record
| | 00:09 | data fast enough to keep up quickly with moving
objects, or when the camera moves around quickly.
| | 00:16 | This creates what is referred to as a rolling
shutter effect. It makes straight lines wavy
| | 00:21 | and generally creates a wobbly look.
| | 00:24 | Because of that, this is
colloquially referred to as jello cam.
| | 00:27 | While there's not much you can do to fix this
completely, there is a fix in Adobe products,
| | 00:32 | such as Adobe After Effects or Adobe Premiere
Pro that can kind of reduce this effect and
| | 00:37 | all you have to do is apply it to
have that fix applied. It's incredible.
| | 00:41 | In some cases, you can completely get rid
of any rolling shutter problems with this
| | 00:45 | amazing software, but it is best to avoid
it in the first place if you can help it.
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| Avoiding moiré| 00:00 | Chad Perkins: A common problem for many video
cameras, including DSLRs, is that of moire.
| | 00:05 | This is a really interesting, but also
really ugly visual phenomenon that creates weird
| | 00:11 | patterns and jagged lines like this.
| | 00:14 | This problem, caused by the camera's sensor, is
most obvious when filming things with fine details.
| | 00:21 | Stripes on people's shirts are one of the
most common causes of this, but anything from
| | 00:25 | the pattern on a distant building to
patterns in fabrics, can cause it as well.
| | 00:30 | DSLRs just have a hard-time
resolving these details.
| | 00:34 | There are filters for your camera that you
can purchase that reduce or even eliminate
| | 00:37 | moire, such as the VAF-5D2 filter.
| | 00:40 | We haven't tested them and they are kind of
pricey, but that option is there. Let's be clear;
| | 00:46 | moire is an abomination.
| | 00:47 | And once your footage is captured with it,
there's nothing you could do to fix it.
| | 00:52 | So do whatever you got to do to avoid it.
| | 00:54 | If you have to, talk to the producer or
director about wardrobe choices and let them know of
| | 00:59 | the potential problems.
| | 01:00 | Moire is certainly something that should be
given forethought and avoided at all costs.
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| About limited latitude| 00:00 | Chad Perkins: One of the biggest problems
that I have with these little DSLR cameras
| | 00:05 | is they have such a limited latitude.
| | 00:06 | It basically means that the camera has a hard
time taking in and correctly registering bright
| | 00:12 | areas and dark areas at the same time.
| | 00:15 | One or both of these areas usually suffer.
| | 00:19 | To make matters worse, when you do have something that
is too bright or too dark, it just looks terrible.
| | 00:24 | Typically, what you want, even in blown-out areas, is a
nice subtle gradation from white to darker tones.
| | 00:31 | But on DSLRs, when you blow out your highlights
or also you shadows, you will get these lines
| | 00:37 | where the tones instantly drop off.
| | 00:39 | The camera just can't see anything in between this
pure white and the slightly darker tones next to it.
| | 00:46 | Because of that steep drop-off from blown
out white to other tones, this problem could
| | 00:51 | be next to impossible to
fix in post-production.
| | 00:54 | There is a little fix that might help.
| | 00:56 | If you're using something like After Effects
or Premiere or some other tool that has a
| | 01:00 | Levels effect, you can go to the triangle
on the far right side of the Histogram and
| | 01:05 | then go to the triangle below that, it's called
Output White triangle, drag that inwards to the left.
| | 01:11 | This reduces the brightness of
the brightest parts of the image.
| | 01:14 | And if you're lucky, this trick might smooth
out that hard edge, then you could go back
| | 01:19 | and universally brighten all the pixels.
| | 01:22 | If you're still getting blown out highlights
or super dark shadows, then use some of the
| | 01:26 | other methods we've been talking about for
adjusting exposure throughout this course,
| | 01:29 | so adjusting the aperture, shutter speed,
ISO, or you can try to block, or diffuse the
| | 01:35 | light, or you could use a neutral density filter,
which Brian will be talking about in the next
| | 01:38 | chapter, which basically is a dark piece of
glass that you put in front of the lens to
| | 01:43 | lower the exposure.
| | 01:45 | But the limited latitude is something
that it looks awful and amateurish when it
| | 01:49 | shows up in footage.
| | 01:50 | So make sure that you're doing everything
you can do to preserve data in the highlights
| | 01:55 | and shadows.
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| About extreme compression| 00:00 | Chad Perkins: Another big problem with these
DSLRs is how they compress the video files
| | 00:05 | that they create.
| | 00:06 | Initially, they were meant
to be deliverable files.
| | 00:09 | You would just record the videos and then post them
online or turn them in to your boss or whatever.
| | 00:14 | But with the proliferation of DSLRs,
we often want to use them in post.
| | 00:19 | But because they're already so heavily compressed,
there is really not much room to play around
| | 00:24 | with them when you're in post-production.
| | 00:25 | For example, this heavy compression makes
it really challenging if you're trying to
| | 00:30 | remove green screen.
| | 00:32 | While more pure footage removes green screen
more cleanly and evenly, even the best green
| | 00:39 | screen footage shot on a DSLR is still
really compressed and creates artifacts that are
| | 00:44 | just a beast to remove.
| | 00:46 | And then when you want to composite that
footage with other material, it's so compressed that
| | 00:50 | you really can't adjust the colors very
much without destroying the footage.
| | 00:55 | That being said, it can be done.
| | 00:56 | When the Canon 7D first came out, I shot a
huge series of visual effects shot for an
| | 01:01 | iPad app that I made before I
realized how horrific the compression was.
| | 01:05 | I made it work, but it was a chore.
| | 01:08 | In some of these DSLRs, like the Panasonic
GH2 for example, they have a mode that will
| | 01:13 | allow you to choose an alternate
means of compression such as Photo JPEG.
| | 01:18 | This is definitely preferable to using
the usual H.264 if it's at all possible.
| | 01:24 | Again, as I pointed out, you can make these
files do some work in post with light visual effects
| | 01:29 | work, compositing, and so forth, but it can be
difficult if not impossible to get these extremely
| | 01:35 | compressed files to do
what you want them to do.
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|
|
7. Important GearWhy you need a monitor| 00:00 | Brian Liepe: There are so many advantages
to using external monitors with your DSLR.
| | 00:04 | Most DSLRs have a mini HDMI connection from
which you can send an HD video signal to a
| | 00:10 | third-party monitor.
| | 00:11 | Typically, the screens are larger than the
LCD on the back of your camera and with the
| | 00:16 | proper hardware, we can reposition the screen to
accommodate different shooting conditions.
| | 00:21 | A lot of these monitors have a variety of tools
that can help us with focusing and exposure.
| | 00:27 | They can tell us where our highlights are
not protected. They can enhance edges and
| | 00:31 | pixels and lines and contours to
help us achieve focus as well.
| | 00:36 | One of the most valuable benefits to using a
monitor is that the image can be more easily
| | 00:41 | shared with your collaborators onset.
| | 00:44 | Positioning the monitor or looping the signal
through to additional monitors allows your
| | 00:50 | team to see what's being
captured by the camera.
| | 00:53 | This helps with communication
immensely, which is super important on set.
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| Using a viewfinder| 00:00 | Brian Liepe: Viewfinders, like monitors, help
the camera operator in shooting conditions
| | 00:04 | that require a close eye on the
footage that's being captured.
| | 00:08 | For example, in really sunny locations, trying
to see the LCD screen is extremely difficult.
| | 00:14 | Even with shade, light is coming in from
every direction, from the sun, bouncing up
| | 00:18 | from the ground, just making it
really hard to see what's going on.
| | 00:22 | So use a viewfinder which keeps the light
from obscuring your view of the LCD and seals
| | 00:27 | in light at the point of
contact with your eye.
| | 00:30 | I used a Zacuto Z-Finder for all these shots in
Africa where the sunshine was way too bright
| | 00:37 | to see my LCD if I didn't have it.
| | 00:41 | The viewfinder typically magnifies the image
anywhere from 1.5 times the actual size to
| | 00:46 | three times the size, so that the image fills
your field of vision when you're operating the camera.
| | 00:52 |
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| Stabilizing your camera| 00:00 | Brian Liepe: These DSLRs
are really lightweight.
| | 00:02 | When shooting handheld, it's very easy to simply hold the
camera in your hands for an extended period of time.
| | 00:08 | But there are some drawbacks to the
size and weight of these cameras.
| | 00:12 | If I'm shooting on a lens that doesn't have
a stabilization mechanism or I'm shooting
| | 00:16 | without stabilization hardware, like a shoulder
mount, the longest focal length I can safely
| | 00:22 | operate or operate without
unwanted shake is about a 24 mm lens.
| | 00:27 | Anything longer than that is when I start
to see that my arms just aren't good enough
| | 00:32 | and that that natural breathing life giving
movement that we all love about handheld shooting
| | 00:37 | transitions to a kind of
unnatural and harsh camera shake.
| | 00:41 | So in order to avoid this we need to weigh
down the camera and mount it so that we can
| | 00:47 | still have the freedom of
those fluid drifting shots.
| | 00:50 | One way to do this is to use a shoulder mount.
| | 00:53 | Here you can see that I've got counterweights
on the back, so the leverage point exists
| | 00:58 | along the rails at my shoulder.
| | 01:01 | So my hands are simply guiding the frame and
I am not struggling to keep the camera up.
| | 01:05 | I can easily adjust my focus and the grip
handles for all that control that I need.
| | 01:10 | As you can see here in this shot, I'm shooting with an
85 mm lens and no stabilization hardware, pretty bad.
| | 01:17 | Here is the same shot, same lens, only with my
shoulder mount giving me some weight and balance.
| | 01:24 | I encourage you to take advantage of valuable
storytelling techniques like handheld shooting.
| | 01:30 | But remember to stabilize your camera as much
as you can, whether it's on your shoulder,
| | 01:35 | on a tripod or even a monopod, which by the
way, can get your DSLR into some pretty cool positions.
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| Moving your camera| 00:00 | Brian Liepe: Adding movement to your shots
really enhances your ability to tell a story.
| | 00:04 | Whether at shooting handheld, like we discussed
in the last movie, or placing your camera on
| | 00:09 | a jib, camera movement allows the audience to
engage in a story in a very effective and unique way.
| | 00:15 | Here is a small tool that can add a big
cinematic effect to your shots, it's called a slider.
| | 00:22 | Just adding a slight deliberate and slow
movement to your shot can help reflect elements in
| | 00:28 | your story, plus there is something sort of
magical about giving the audience a perspective
| | 00:33 | that moves through space.
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| Using a follow focus| 00:00 | Brian Liepe: A follow focus allows the operator
or first assistant camera person to maintain
| | 00:04 | focus on a moving subject without touching the
lens directly, which can sometimes increase
| | 00:09 | the risk of shaking the camera or lens.
| | 00:12 | The lens must be wrapped with a gear which
has teeth that are of a corresponding pitch.
| | 00:17 | Now the pitch just refers to the distance
between the peaks and the valleys on that gear.
| | 00:22 | You can use a grease pencil or dry erase
marker to indicate points on the marking disk that
| | 00:27 | correspond with the
actor's movements in the scene.
| | 00:30 | This way you can follow the
subject and pull the focus accordingly.
| | 00:33 | They're pretty cool. I
like them. I use them a lot.
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| Using a matte box| 00:00 | Brian Liepe: A matte box can be really useful
if you're working with a lot of hard lighting.
| | 00:04 | Hard lights that shine into
your lens can cause lens flares.
| | 00:08 | Although some shooters embrace flares, they
can be undesirable if they show up in parts
| | 00:12 | of the image that need to
remain clean or unaffected.
| | 00:16 | The matte box is built to
accommodate a wide range of focal lengths.
| | 00:20 | The size of its opening increases,
so it doesn't show up in your image.
| | 00:25 | The walls of the matte box block rays of
light that would otherwise shine into the glass of
| | 00:29 | your lens, which obviously is
what produces lens flares.
| | 00:34 | You could also use a
matte box to hold filters.
| | 00:37 | I use my matte box to hold high-
quality neutral density filters.
| | 00:42 | In a matte box like this, I can hold NDs in
these frames, which allows me to switch lenses
| | 00:47 | without having to unscrew filters from
one lens and screw them back onto another.
| | 00:52 | This saves me a lot of time.
| | 00:55 | If you do use a matte box to hold your filters,
make sure to seal off the back of the matte
| | 00:59 | box with a donut.
| | 01:02 | These prevent light from leaking and reflecting
off your filters and then back into your lens.
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| Using neutral density filters| 00:00 | Brian Liepe: Neutral density filters, commonly
referred to as NDs, are just another set of
| | 00:05 | tools you can use to adjust your exposure.
| | 00:08 | They are usually used when shooting outdoors.
| | 00:10 | If it's just too bright to open up your aperture
for shallow depth of field, place an ND filter
| | 00:15 | in front of your lens either by threading
one on or by using a matte box that can holds
| | 00:20 | neutral density filters.
| | 00:22 | Just as a side note, different lenses have
different filter diameters or sizes, so you
| | 00:27 | can buy a filter that matches your lens.
| | 00:30 | Some lenses have a symbol called a ligature
that indicates the diameter of your filter size.
| | 00:37 | The density or the amount of light NDs filter
out are usually fixed to one stop increments.
| | 00:43 | So if you're shooting on set and you have
too much light, you put an ND in front of
| | 00:48 | your lens and it's not quite the amount of
reduction you need, you've got to go grab
| | 00:51 | another one or just adjust your camera
settings, which you may not want to do.
| | 00:56 | So if you're wasting time by swapping out
different NDs, you can use something called
| | 01:01 | a variable ND. These are so
cool and super valuable.
| | 01:06 | Variable NDs are great for DSLRs because
they allow you to adjust your exposure without
| | 01:11 | changing your aperture or
your shutter speed or your ISO.
| | 01:14 | You have the ability to change
your exposure without fixed increments.
| | 01:19 | You can just spin the ring and easily
achieve the amount of exposure you need.
| | 01:23 | You can see here that the exposure changes
and nothing else does, my aperture, my shallow
| | 01:28 | depth of field all remain the
same by me just spinning that ring.
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|
|
ConclusionThe future of DSLR video| 00:00 | Brian Liepe: The technology that these
cameras use isn't going anywhere and the future is
| | 00:04 | probably just going to get better.
| | 00:06 | Chad Perkins: For example, there is a new
Blackmagic Cinema Camera that people are talking about.
| | 00:10 | It's just like a DSLR, shoots 3K
footage and it's raw. Just incredible!
| | 00:16 | Brian Liepe: Yeah, and then there is the new
GoPro Black that shoots 4k, 15 frames per
| | 00:20 | second, but still that's a small camera
that can shoot 4000 lines of resolution.
| | 00:26 | There is also the RED SCARLET which has same
form factor as a DSLR, but is way more powerful;
| | 00:33 | different frame rates, different
resolutions, different latitude and dynamic range.
| | 00:37 | Chad Perkins: So as you could see, a lot of the
information, probably most of the information
| | 00:42 | we covered in this training series is kind
of future proof. It's not going anywhere.
| | 00:45 | These DSLRs and this idea, this revolution
that so much power can be packed into little
| | 00:50 | tiny camera, this stuff isn't
going anywhere any time soon.
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| Final thoughts| 00:00 | Chad Perkins: Well folks, that's
the end of this training series.
| | 00:02 | We've had a blast making this training
for you. Thank you so much for watching.
| | 00:06 | Brian Liepe: Yeah, and remember the best
experience is just to get your hands on some cameras
| | 00:11 | and go out there and shoot, so good luck.
| | 00:14 | Chad Perkins: On behalf of myself, Chad Perkins, my
co-author the amazing Brian Liepe and lynda.com
| | 00:20 | we thank you for watching.
Good luck shooting. Take care.
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