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What's one of the best parts about being a video professional? All the cool gear! In this weekly series, Rich Harrington and Robbie Carman team up to discuss the latest and greatest equipment for video production and post. They talk about the newest cameras, like the Blackmagic 4K, pocket cinema cameras, and GoPros; accessories and adapters that will make your shoots run smoother; and the great tech being invented every day. And because they keep both cost and quality in mind, you'll never have to worry about blowing your budget or compromising production value. Come back every Friday for a new tip.
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All right, Rich. So we've talked about sort of the components of this slider. >> Yap. >> We talked about mounting up to the tripod, leveling things off. But now it's actually time to shoot with it. And I gotta be honest, It takes a little practice to get comfortable with a slider. >> Yeah. >> It's not as simple as just, you know, kind of pointing that where you want to shoot and going from there. It requires a little practice and a little technique. And just the mechanics of this particular slider are actually really nice. It's a very smooth track. You can see as I slide, it extends out to one side or another, keeping the overall slider nice and compact.
But are a couple of techniques we should talk about. First, let's just assume that I'm not doing any panning or tilting on the actual head itself for right now. >> Well, one of the issues that you are going to face, of course is focus, and you have to decide. Do you want the thing to stay in focus for the entire move, or do you want to let things fall off. Now, the set up you have here, I would focus on the object, depending on where the object was placed as you moved, pulling focus would be difficult. >> Yep. >> But you could. With a little bit of practice. Make minor adjustments. >> Absolutely, and that's where thing, you know things like a loop getting right back on the back of the camera, or an external monitor are going to be, you know helpful in that situation.
>> And multiple takes are going to be helpful, because you're not going to get it on the first try. >> Absolutely, now when it comes to the actual movement itself. You really kind of have sort of, two overall techniques. First would be to actually grab sort of, the handle if you will, on the tripod head, and do a nice movement there trying to be nice and slow and deliberate. I personally don't like moves that are like this. >> Right. >> They sort of like, these whips and these really fast moves and go nice and slow. As you're going through the track. Now some people like that method.
Another method that I like. >> Well before you switch, one of the things I want to point out, you know, you had a nice loose grip on there, which is important. >> Yeah. >> You don't want to be grabbing this. This is not a tennis racket, or a golf club. A gentle grip where it's sort of cradled. I'll sometimes go as far as just take my finger and thumb. And just get enough movement. >> You've got to keep it going. >> For sure. Now, the other method that I like, which is sort of similar, but sort of gives you more hands on approach to the actual unit, is to kind of just push and pull. So in other words, instead of just grabbing the tripod handle here, I can just come up to the edges here.
And just push and the reason I like this is I feel like I'm a little bit more directly connected to the unit itself, and you can see nice, smooth deliberative movements, but as you said, Rich, I'm not having a death grip on this. I'm very sort of conscious of my movements, because I don't want to vibrate. >> Yeah. >> And shake things, and move the whole tripod. >> And I find that depending on your shooting style, you can experiment with the pull versus the push. >> Yup. >> It's really important thought that these teeth here, the belt, stay on the actual grid.
So be careful that this doesn't come off. But you know all in all it's whatever makes you feel comfortable as you're shooting. >> Yap. >> Some people will turn this handle, so it's faced a little bit more upright. >> Yep. Making it a little bit easier to grab. >> Well now, getting back to the tripod head itself, there's a kind of an advanced way of using this slider, and that would be to sort of open up your your controls here for panning and tilting. And, instead of keeping this sort of locked down as it's moving, of course, you can sort of frame up the shot as needed. Prior to actually beginning the, the slide. But what we can do is we could open this up and I could as I'm sliding I could tilt down or I can pan to the left as I'm sliding.
Now, you want to talk about practice, this is kind of a move that's really going to need some practice in doing multiple takes of this to kind of figure out sort of the body mechanics of panning, tilting, and sliding all at the same time. >> Yeah. >> I found that it's good to have a buddy sometimes. So in other words you could be controlling the push of the slide, and I could be controlling the panning and tilting. >> And what I also find sometimes useful is make sure you tether your camera to an external monitor or perhaps use an electronic view finder. That's going to make it a lot easier to see. One more technique and it's an easy one.
>> Yeah. >> Just rotate the camera ninety degrees. >> Absolutely. >> And let's just put that front leg out. >> Sure. >> There we go. And you could put this, so it's going towards. We'll just loosen this up a little bit here. >> Yap. >> And you have to be careful not to shoot down into the actual slider, but you now have another movement. >> Yeah, and this is really nice. I mean, again, after shooting drama, or something like that, and you sort of want to accentuate sort of an emotional moment, you know, you can pull away, or you could push in to the actual subject.
And it gives you sort of that side to side movement, but also the in to out movement, which is nice. So, Rich, we've talked about sliding side to side. We've talked about going in and out. There's sort of one hybrid type movement and that's kind of going in a diagonal setup. >> Yep. >> The cool thing about doing the diagonal setup is that it kind of gives you an interesting look, sort of a parallax look. So as you're sliding, you're kind of coming away or going in at an angle. And this is really fun for all sorts of subjects, interviews included. Product shots, things of that nature. >> Yeah.
Essentially, you're going to be working with the soft focus, and this gives you a lot of options. Why don't we go ahead and take a look at some of the results we got using this rig?
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