Adorama Photography TV Presents DSLR | Video Skills with Rich Harrington. This episode will reveal how to choose the proper frame rate and frame size when shooting with a DSLR video camera.
Follow Rich as he explains the difference between frame sizes and frame rates and which is appropriate for different shooting scenarios. Then, watch as he takes you into a DSLR camera menu and shows you how to choose your frame size and rate.
This specific tutorial is from the DSLR Video Tips series presented by lynda.com authors Rich Harrington and Robbie Carman. The complete DSLR Video Tips course is presented as a weekly lynda.com series and covers the most common questions videographers encounter when shooting and editing with DSLR (digital single-lens reflex) cameras, from choosing a frame size and frame rate to understanding moiré.
Adorama Photography TV Presents DSLR | Video Skills with Rich Harrington. Join Rich as he reveals great tips and techniques on how to achieve a good interview. From establishing a proper relationship with your subject, to eye-line, feedback, and how to ask follow-up questions, Rich will sit down with filmmaker Irene Magafan to talk about her newest documentary.
AdoramaTV features talented hosts including: Mark Wallace, Gavin Hoey, Joe McNally, Joe DiMaggio, Tamara Lackey, Bryan Peterson, and Rich Harrington.
This digital video tutorial explains how to use an external video loupe to magnify the actual image that you're seeing on the camera LCD and to block ambient light. Watch more at http://www.lynda.com/course-tutorials/DSLR-Video-Tips-Rich-Harrington/103707-....
AdoramaTV Presents DSLR Video Tips with Richard Harrington. Join Rich as he discusses three-point lighting when shooting an interview on DSLR.
Three-point Lighting is a combination of a Key light, back light, and a fill light. Three-point light gives you full control over the light and shadows casting over your subject. Understanding the three-point lighting technique gives you the building blocks to advance with your photography.
Adorama Photography TV Presents DSLR | Video Skills with Rich Harrington. Join Rich as he demonstrates how to record sync sound audio when shooting with a DSLR camera. This video focusses on how to record great audio for your next project... we'll cover postproduction in a future episode.
Most DSLR cameras have a built in microphone, but to accomplish good professional audio you need more. Audio is one of the most important elements when producing video. Having an dedicated microphone to capture your audio can increase the overall quality of your video. In this episode, Rich demonstrates how to capture audio with various devices that are compatible with DSLR cameras.
I explain the problems of a rolling shutter when shooting video with a DSLR, and how to make sure that fast moving subjects aren't distorted or stuttery.
This is a sneak peek from a new book I am writing – Creating DSLR Video: From Snapshots to Great Shots While you can do a lot in postproduction to fix exposure, video files are a lot like working with JPEG images (as opposed to raw photos). Push an adjustment too far and you’ll get posterized image where details are clipped. Shoot too dark or too bright and you’ll have no information to work with and possibly quite a bit of noise.
The key is to always protect your highlights. Do not let the bright areas of your image (like skies or faces) get clipped. One view you likely have on your camera is a histogram. You typically can see this after taking a photo or cycling through your view options (in most cameras you can push the Info button or press your navigation dial from side to side to cycle views). If the histogram is pushed against the right edge, it means you have no information to work with. Blown out highlights go pure white and there is just no way to recover the details. Here you can see the same scene shot two different ways. In the first, I shot things a little hot. With color correction in post, I was able to recover a lot of details. But you’ll notice that a lot of the details in the shadows are clipped.
Be careful to keep your histograms from getting slammed to the right. ISO 125 | 1/50th sec. | f/14 | 32mm lens
On the other hand, I also shot the scene and exposed for the “boring middle.” In this case the histograms were more balanced and I had a lot more information to work with. After color correction (a Levels and Saturation adjustment), the shot looks a lot better.
It’s better to slightly underexpose than overexpose when shooting video. Notice how the shadowy details in the rocks are preserved better in this version. ISO 100 | 1/60th sec. | f/14 | 32mm lens
The use of a loupe or viewfinder is essential for outdoor shooting. Bright light on your LCD just makes things damn near impossible to judge. If this is out of your price range, wear a hat and use it as a shield for time to time to judge exposure. I can’t emphasize enough though that a loupe should be one of your first investments if you become serious about shooting video on your DSLR camera. By removing all light pollution, you can make accurate decisions.
From the Creative COW DSLR Essentials Podcast, Robbie Carman and Richard Harrington bring you part three in a three-part series on creating time lapse. This episode covers assembling a time lapse shot.
I got to see some of this great footage and test at a sneak peek at NAB. This is a real-world comparison of DSLR and other CMOS type sensor cameras like the RED, Alexa, and Sony F3.
Episode 2, “Sensors & Sensitivity” of the three part series continues with tests covering sensitivity, resolution, compression and the relationship between them. These tests were designed and administered by Robert Primes ASC, director of the Single Chip Camera Evaluation (SCCE) and shown at 2K screenings around the world to indie filmmakers, event shooters, commercial DP’s, directors and corporate filmmakers alike. Their opinions on the footage are invaluable when it comes to understanding what all this data means in real world shooting situations.
My Zacuto Electrnic Viewfinder showed up Saturday. I'm already using it on my second shoot tonight. This thing is so awesome in that I can really see things like exposure and focus with a true viewfinder. The buttons are easy to use, the unit feels solid (but weighs practically nothing).
The best part? The fact that I've only had it a few days and Zacutto is already adding features via a free firmware update (love that).
Here's the complete user manual so you can check out the features. Download the current EVF Manual: Z-Finder EVF Manual Heres the free firmwareupdate (took 20 seconds to update) Current Version of Firmware: 1.01.00. Click Here To Download Firmware 1.01.00 includes the following updates:
Audio meters enabled that are able to be positioned in any of the four corners.
Battery meter can now be positioned in any of the four corners
Audio loop through enabled
Underscan now implemented
Can now save and recall Chroma, Contrast and brightness settings as presets.
Changes to color, brightness and contrast are now saved on power down and return on power up.
Red One, Sony FS100 scaling presets added
How To Upgrade Your Firmware Once you download the firmware the next thing you need to do is have a USB Thumb Drive formatted to FAT32. Please note this is not the default file system used for either Mac or PC and by formatting your thumb drive in this way it will erase all data that is currently on the thumb drive. 1. Reformat a USB thumb drive as FAT (FAT 32 or MD-DOS). This can be done with Disk Utility on a Mac or by right-clicking in windows and choosing Format. 2. Download the current firmware – Click Here To Download 3. Copy the current firmware file to the FAT32 thumb drive (NOTE: File name must be evfupdate.fw) 4. Insert thumb drive into EVF USB port 5. Select UPDATE from the EVF menu 6. Select USB DRIVE 7. Select START UPDATE 8. When prompted, power down and restart the unit. 9. Enjoy! Here is a detailed page about the EVF Units – http://www.zacuto.com/electronicviewfinder-faq
In this DSLR podcast Robbie Carman and Richard Harrington discuss the various frame rates available on today's DSLR Cameras such as the Canon 7D. Learn what rates to use for proper film looks, slow motion and other special effects, PAL or NTSC.
Subscribe for free at the COW – http://podcasts.creativecow.net/dslr-video-podcast
Subscribe for free on iTunes – http://itunes.apple.com/us/podcast/creative-cow-dslr-video-podcast/id409873...
Oftentimes you'll find yourself using more than one camera body while shooting footage. This may be to get an extra angle or to avoid having to change lenses in the field. The closer your camera settings the match, the more seamless it will appear when you edit the different footage together. Ideally the acquired footage will match as closely as possible. This means that you to adjust both the aesthetic and technical properties.
Aesthetic Matching
Look inside the camera and check your menu settings. You'll typically find several options that will aesthetic properties of the footage. Ideally, you'll closely match these settings across multiple cameras:
Color settings – Use the same color space for each camera if it's a choice.
Picture Style – Many cameras offer different modes that stylize the footage. We recommend shooting flat and adjusting your color with Adobe Premiere Pro or After Effects after the shoot for greater flexibility.
Shutter speed – Your shutter speed should typically be 1/60 if shooting 30 fps or 1/50 if shooting 24 fps. You can alter this number for different looks, but be sure the cameras all match.
Technical Matching
You’ll also want to check several technical properties for each camera. Be sure to identically match the following properties across each camera:
Frame size – Your frame sizes must match. Be sure that you aren’t mixing 720p with 1080p.
Frame rate – All your cameras must match frame rate (exactly). Be sure to check that you have a precise match. Make sure the firmware of your cameras is also up to date.
Color calibration – Be sure that all angles color calibrate at the same time, on the same subject, under identical lighting conditions. Otherwise, you’ll have a lot more postproduction work.
For many, getting footage into their edit application is the easy part. It's getting the footage out that becomes tricky. While each editing application will all have its own unique steps for exporting a project, the process is pretty standard. Use these steps to create a master file.
Identify the final sequence. This sequence should be what is called "picture-locked" meaning that no additional changes will take place to the sequence.
Make sure that the whole sequence is rendered. Click in the timeline and choose Select All, then render the clips.
Mark and In point at the start of the footage you want, then mark an Out point at the end of the range. For most editing tools, you can use the keyboard shortcuts I and O for In and Out respectively.
Look in the file menu or application menu for an option to export the file. Choose this option.
Export the file using the same high quality settings that you were editing with, meaning the same frame size, frame rate and codec.
Save the file to a location of your choosing, keep in mind that the file you export will be large so choose a location that has enough storage space.
After exporting the file you now have your master file that you can make compressions from, pull stills from or archive.
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