Getting unique and challenging camera angles for your footage can be tricky. But don’t worry—if a shot requires your DSLR camera to be in an inconvenient or hard-to-reach spot, you can control it remotely. Join Robbie and I this week as we explore an app called CamRanger that works with a small transponder device to let you control your DSLR from another location.
Posts Tagged ‘DSLR’
Grain, shadows, highlights—getting the right film look hinges on how these three elements are handled. Last week we explored how to build film looks in DaVinci Resolve; this week we’ll look at the same process in Adobe SpeedGrade—an excellent color grading tool that’s particularly user–friendly and intuitive. Joining Rich and me again this week is colorist Patrick Inhofer, who’ll walk us through his personal techniques for achieving a film look in SpeedGrade using footage from a recent music video shoot.
Blur. We buy tripods and motion-stabilized lenses to avoid it, and we use Photoshop filters to try and fix it when it creeps into our shots.
But blur can also be a powerful tool for conveying a sense of motion in a static medium. A speeding car or motorcycle, a galloping horse or bounding dog, a cyclist on a track, a kid on a sled—subjects like these are natural candidates for some motion blur.
Blur is the subject of this week’s installment of The Practicing Photographer. Ben Long and his motorcycle are joined by lynda.com videographer Josh Figatner, and the two explore various techniques for capturing motion blur as Ben rides down a deserted highway.
Give your video footage that dramatic “film” look by diving into some color-correction and effect features of Final Cut Pro X in this week’s DSLR Video Tips with Rich and Robbie.
You’ll learn about
• The tools: Get to know the tools in Final Cut Pro X that can help you achieve a film look with your video footage.
• The post-processing: Learn how to use those tools to create a stylized film look with Final Cut Pro X.
With the price of cameras dropping lower and lower, using multiple cameras at the same time is a popular production trend. Whether you’re shooting a concert, performance, or how-to video, capturing multiple angles of a shot in perfect sync makes the whole project better. But multi-camera shoots are tricky.
In this week’s DSLR Video Tips, Robbie and Rich show you how to plan for a multi-camera shoot. Director of Photography Jim Ball offers additional insight from his experience with multi-camera shoots.
A great way to create more interesting video perspectives is to raise your camera higher. Positioning the camera above any scene gives a unique view—and putting the camera into motion from that position can result in really dynamic shots.
In this week’s video, we look at a couple of tools for raising your camera up higher, and discuss techniques for getting the most out of elevated shots.
Throughout the past month, we’ve tackled the exposure triangle—the critical way to get properly exposed photos and videos. Remember your camera and lens have three essential controls that affect how much light comes into the camera: the aperture or opening of the lens, the shutter speed (how long the shutter opens), and the ISO (the sensitivity of your sensor).
But a problem as tough as exposure can still be hard to crack. What happens when you can’t get more light into the camera and the shot is dark? How about when you want shallow depth of field and the shot is overexposed? Sometimes you have to look past the camera and make external changes to get the results you want.
Does your footage look too choppy? Are action scenes a streaky mess? It might be because your shutter speed isn’t set properly. The shutter in a camera is a lot like a pair of shutters on a window. It controls how much light comes through and hits the camera’s sensor.
This week, we continue to look at exposure. There are three critical pieces to achieving good exposure and creative control with your shots. Fortunately, shutter speed is the easiest to learn, with just a few simple rules.