- Alright everybody, we're going to shift our focus here from talking about lighting to talking about cameras. One of the most common questions most filmmakers have is, what camera should I use? That's just kind of an unfair question. It's like saying, hey you, which camera is best for my needs? Or it's kind of like the equivalent of asking another person, hey you, which shoes will I like best? No one can really answer that for you and just like your shoes, your particular needs and your budget will dictate what the best solution is for you.
And remember that it's okay to rent camera gear. A lot of new DPs make the mistake of thinking that they can't shoot on a RED or a RE Camera because they can't afford the tens of thousands of dollars that these cameras cost. But you will likely live around a camera or gear house which rents gear or maybe you could even rent stuff from an online service such as lensrentals.com. Companies like these rent camera bodies but also all the accessories. You know the media cards, lenses, batteries, and so on, all that you'll need to get the job done on the day.
We'll talk even more later about renting gear later on in this course. When selecting a camera though, even to rent, it's important to prioritize what matters to you and your production. If you're shooting a movie with a lot of visual effects, then you might want more dynamic range or a higher bit rate or maybe a camera that shoots in a less compressed format. If you're shooting a visually vibrant piece, then you might want to shoot with a camera that shoots raw video so you have more latitude to color the film in post production.
If you're film is going to be shown in theaters, even just in film festival theaters, you might want to shoot in 4k to capture more detail. If you're shooting a student film and it's a character-based drama with no real art direction, then maybe you don't need any of these bells and whistles, but I would suggest that for story telling, you probably want to use a camera that uses interchangeable lenses. As we'll learn later in this course, lenses make a big difference in telling stories with a camera. This includes the ability to achieve a shallow depth of field where some objects are in focus and others are not.
This particular effect is quite difficult to achieve with camcorders or other cameras that have a built in lens. DSLR cameras are perhaps the least expensive way to get a camera that shoots video with interchangeable lenses. Now, we chose to shoot The Assurance on a RED Scarlet. Probably mostly because it's my camera so I'd be able to do pick up shots and whatever else I needed on that. Also, it shoots raw and 4k which are great for visual effects and color. We're actually recording this training on that same camera now, but I also bought this camera because the way the footage looked.
The grain feels very filmic to me and it has a lot of dynamic range which gives me a lot of latitude when coloring the footage in post production, but you know if you don't have any of these cameras, please don't let that stop you. The type of camera really doesn't matter. Case and point, this movie, it's called Tangerine. It premiered at the Sundance Film Festival and won tons of awards. It was shot entirely on the iPhone 5s. So, that means it didn't have any depth of field at all.
No 4k, no interchangeable lenses, no raw video, but it had a story and characters that resonated with a lot of people. So you have no excuses. I mean, you more than likely have a better camera than this in your pocket right now or you might be watching this training on that camera. If you have a bigger budget and more resources, then decide what matters most to you and let that inform your camera choice.
Author
Released
9/12/2017- Understanding exposure
- Getting coverage
- Diffusing, blocking, and shaping light
- Shooting at night
- Using wide and long lenses
- Telling stories with camera movement
- Framing the shot
- Using mobile cinematography apps
- Mastering cinematic lighting
- Using common grip equipment
- Lighting people in a flattering way
- Achieving a shallow depth of field
- Creating more cinematic shots
- Working as a Director of Photography
Skill Level Intermediate
Duration
Views
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Video Foundations: Cameras and Shooting
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Learning DSLR Filmmaking
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Creating a Short Film: 09 VFX Environments
with Chad Perkins7h 12m Intermediate
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Introduction
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The assurance7m 43s
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1. Cinematography Basics
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Understanding exposure1m 31s
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Adjusting the shutter speed2m 45s
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Adjusting ISO1m 50s
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Exposing for the subject3m 46s
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Using a light meter1m 16s
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Evaluating a histogram1m 37s
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Choosing a frame rate1m 34s
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Shooting slow motion footage2m 40s
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2. Setting Up the Shot
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The cinematography workflow5m 54s
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Understanding shot sizes5m 59s
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Using POV shots2m 10s
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Understanding the line2m 22s
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Creating dimension2m 44s
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Selecting the aspect ratio3m 33s
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Leading the eye4m 11s
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Cheating lights and talent1m 35s
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3. Framing the Shot
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The importance of framing3m 34s
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Utilizing thirds1m 54s
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Centering the subject1m 32s
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Using high and low angles2m 10s
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4. Lighting in Theory
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Hard light vs. Soft light4m 27s
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Avoiding "sourcey" light2m 18s
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Realism vs. Beauty3m 13s
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5. Lighting in Practice
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Mastering cinematic lighting3m 47s
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Diffusing light4m 51s
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Blocking and bouncing light4m 51s
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Using scrims2m 3s
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Working with natural light4m 20s
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Shooting night scenes5m 20s
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Making magic with fog2m 56s
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Coloring light with gels4m 13s
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Creating lens flares2m 19s
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Preventing lens flares1m 40s
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6. Lighting People
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Lighting from above1m 52s
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Lighting from below1m 49s
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Minimizing blemishes1m 49s
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Making light flattering1m 18s
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Using eye lights3m 10s
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Making a silhouette1m 38s
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Creating the film noir look2m 34s
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Lighting dialog scenes2m 3s
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7. Camera Basics
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Which camera should you use?3m 48s
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Building the camera2m 41s
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Supporting the camera1m 8s
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Achieving critical focus3m 48s
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White balancing the camera1m 50s
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Setting up video village2m 55s
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8. Telling the Story with Lenses
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Using lenses to tell a story3m 13s
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Working with wide lenses3m 20s
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Working with long lenses4m 28s
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Using premium optics1m 51s
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Racking focus1m 45s
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9. Moving the Camera
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Moving the camera6m 24s
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Using a slider1m 39s
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10. Creating Cinematic Shots
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Critiquing the shot2m 18s
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Changing the background1m 2s
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Rethinking the lighting1m 39s
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Changing the tone with gels1m 53s
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11. Fixing Mistakes
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Recreating the faceoff shot1m 26s
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12. Working as DP
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Responsibilities of the DP2m 29s
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Knowing the script1m 30s
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Scouting locations2m 26s
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Getting coverage4m 6s
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Gear: Renting vs. Buying2m 20s
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Working with the crew3m 47s
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Stealing shots2m 33s
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Shooting visual effects4m 48s
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Conclusion
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Improving your DP skills3m 10s
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Previewing the next course1m 49s
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Final thoughts56s
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Video: Which camera should you use?