Managing Exposure, Light and Action
Managing exposure yeah, just weird to talk to about this briefly your shooting emmanuel you're using what you already know about the natural light the available light that there and you just want to be aware of changing light for example if you're outside and it's a partly cloudy day you need to know same in photography it's very similar you need to know what a cloud has come over your exposure is going to change or if the sun comes out from behind the clouds your exposure is changing. The frustrating thing is that you might be filming this wonderful thing as that's happening and then all of a sudden you're what you're filming kind of goes dark so what you wantto do is just be aware of the changing light if you need to change your exposure though you don't want to do it while you're filming because if you do it while you're filming you're going to see a very state click click I can kind of show them if you want to go to the live you on my camera here basically any time I just either my...
shutter or my aperture watch what happens here is my shutter see how like you notice you noticed the closer opening of it just it's not something that you have put your finals and this is my aperture changing it's a noticeable click and that doesn't look very attractive when watching a video clip so if you're exposed changes, you just want to stop the recording on the camera, change your exposure and then we'll start recording again and then we can go back to the the flood there quick man way already talked about this a little bit before knowing your shuttered um and to avoid the rolling shutter in a nutshell if you're noticing because you're under fluorescent light that there's a flicker going on lower your shutter speed and it's gonna help eliminate rolling shutter also happens it's, a term for a couple different phenomenon that happens inside the camera on the flicker that you see is technically a part of rolling shutter but also if you're a higher shutter speeds and you move the camera, lee quickly you get this jell o effect or the image kind of goes through this and that's because the shutter speed really high and it's just processing the data in the way it's converting it it's just it's, but you won't be between zooming you're going crazy there so you should avoid that and in the flicker you will see it if you're using a slider and your shutter speed set pretty high and you do a quick movement with the slider, you'll see things wavering a little bit or the bend, so just be careful if you're using anything with movements just try to keep the shutter speed a little lower so these are all things that you're wanting to win your shooting and being careful we already talked about this being careful with your eyes so green is not artsy it's not nice it's like bad tv reception when it comes to video this is exactly what we were talking about when that when that question came in we were getting right to it. No, your shutter understand how it works the lower shutter speeds we're gonna give you more fluid movement, higher shutter speeds going give you more sharp movement there's a lot of debate over whether or not we should be shooting over a certain amount. I personally think if you like the way it looks in a natural style makes your work look good do it. And then the one you wanted to know. If remember how we talked about you can grab stills from your video if you grab a still from the video that the shutter speed was at a thirtieth of a second, that still is going to look like you photographed it at a thirtieth of a second and you'll probably have a little bit of motion blur web rather, if the video was shot at two thousandth of a second, you could pull a nice, crisp image from that right just remember if it's a moving subject at the lower shutter speeds it's going to be blurred because it's got that natural motion blur attached, which is very similar obviously to photography are you seeing how a lot of the principle's really just cross right over from photo video? I mean it's not it's encouraging I was I think the conception with video is like for years we've only had video cameras, right? So video cameras are pretty much automatic sorts of devices they have manual modes and you can use manual modes on a video camera, but for the most part they're like pointing and shooting okay, you might tweak your focus a little bit, but there's not a whole lot of depth of field in those lenses, so pretty much a lot of it is in focus already so you have to, like let the camera do most of the work for you, but with cinematography moving, photography, moving still photography you're just taking a serious of still images over a certain amount of time a lot of the same principles really do apply and I think people are starting to wake up to that back now they're like, wow, you know what? It's not just point and shoot anymore a point you know, it's for video cameras this is a whole different beast can you grab the so one of the things with managing light your battery to oh yeah is that you can't use flash so there are things that you can use obviously natural light is best because it is going tio not flash and you can actually see it but fill with reflectors which is something that I usually do is I have my assistant hold a reflector and I feel that or external continuous lights which is what this is this is called the dead a light d e d o this is the lead zilla let zillah let zillah led it's an led light it's an led light either it is love zola down there but it's a really nice like this one is definitely more on the expensive side but the reason for that is that you can operate off this tiny little battery so I'm not like that in there so you know I'm not carrying around like a big battery pack and then you can focus this light to see if I'm on rob over here I could focus it so the lights just on his face or it can spread it out but it's kind of everywhere spotting flood and then you've got these barn doors that you can use as well as a tungsten filter so this I actually use this for details a lot as well he's holding up the sign but you've been blinding me so I can't thirty okay good so you these air really great for phil especially if you're working indoors I don't necessarily recommend this for that's not going to thes lights is what this is, what you need for outdoor film, one of the camera guys, and swing around to show one of these monsters. Yeah, that that is an eight hundred water a hundred fifty watt light, okay, that's really bright and their beautiful white light and that's what filmmakers use outside when they're doing movies, they used to k lights like really bright lights, and they usually shining through a big white sheet. If you've ever had stumbled upon a movie set in the city, you might see that you need a lot remember you're competing with the sun, so you need a lot of like to sort of fill in a lot of the times as photographers what we do, we'd like to shoot with the sun with the sun coming to the back of our subjects and shoot into the sun and then fill in just like movies. That's what they do, so just use a reflector outside. If you're inside, go ahead and use a a fill light of sorts. Watch movies, man watch movies I'm telling you once, like romantic comedies and dialogue scenes and watch how their lives they're always pin lit by the sun, beautiful backlight and then the face is so bright, and you know how bright that light is. To get them to look like that. Like the artists, actors came to look at the lights so bright, so, yeah, it's, it's a furor. Stumble upon a movie set and get a chance to see how they light it. It's. Really fascinating.