Відео

Sorta of. It’s tough to explain, obviously, haha. Basically if you are editing the “raw” footage from some high-end cameras, and if your computer is too slow to play to back smoothly, you can choose to purposely lower the quality of the playback simply so your computer can play it without dropping frames. So it’s only “crappy” because you made it that way so it won’t skip when playing. If you render out a portion of that timeline, you can choose settings that compress it, or convert it so that it will play back smoother and at a higher looking quality. There are drawbacks to this but I’ll stop here for fear of confusing you further, haha.

@@DiCasaFilm Thank you very much. My question, I think, might have been even more basic than it sounded. This is my understanding of how rendering works: 1) Your timeline saves a very 'dumbed down' version of its content for looking at it and scrolling through it, but not playing it; 2) When you hit play, it does a limited render, but you're still watching, and editing with, a rough version of your content; 3) Before you export your timeline, or share it, your computer restores all the data so all the detail will be there for viewers. And thank you again. Your dedication to this stuff, and to teaching people about it, is not just obvious but also inspiring.

@@mikeb2644 No problem! Unfortunately, I believe you are not correct about your assessment. As far as I know, the timeline does not “save” a dumbed down version. The timeline is attempting to play the footage back at the best quality it can. If your computer is powerful enough to play it back without any quality loss, then it will. But if not, you can choose to lower the playback settings so that you can at least not skip frames, therefore still being able to time your edits correctly.

If you watch this entire video you will see that I did try that, many times.

@@DiCasaFilm watched it all the way through. Saw you try several things. If you tried the reset the rest of us used you must have edited it out.

Interestng. Well you can see here that it didn’t work for me, unfortunately. I tried every iteration multiple times to no avail. But I’m glad to hear it worked for you!

ooo. I'm into it.

Another note: the battery in this camera and probably every DSLR on the market is specifically designed to be rechargeable. DO NOT USE anything other than an OEM type battery. A non-rechargeable battery will leak if charged and potentially ruin you main board.

Another thing, the clock battery is not capable of powering up the camera, it only keeps the time, date and possibly some of the settings current. The big battery is the only thing that can actually power the camera and it is what keeps the clock battery charged.

And I still check comments. ;)

That’s great to hear.

Glad to hear it!

I think you should have taken one less hit from the bong my brother. ❤️

​@@DiCasaFilm haha! I quit. They locked me up for moving that stuff back when it was illegal. Btw, on the "Three Point Lighting" tutorial, you replied to my comment, directing me to watch the "DSLR Basic Settings" training; and asking me to keep you posted on my amateur photography career. I have my first headshot shoot tomorrow. 20 headshots! Wish me luck. I bought a green screen, and two lights, and a tripod. However, please don't scold me, but I have to admit I'm just going to use my iPhone 12 Pro default camera app, and shoot in "ProRaw". In my research, it seems the viewport display in that app gives you a precise representation of what the photo will look like. Also, although I know real pros don't consider iPhone camera app's "exposure" slider to be "real" exposure; but, again, in my research, it seems the iPhone 12 Pro has a great reputation for setting shutter, aperture, and light sensitivity on the fly; so I'm going to give it a shot. I know it's heresy to a pro to hear that, but I'm a naive techie who actually believes that shutter, aperture, and ISO can be set just as well by an algo as it can by a human. Banish the thought, I know; but these machines are taking over. It won't be much longer now before we're dodging agents like Neo. I learned a lot from you, though; I mean that; and I will for sure rely heavily upon your training in the (likely) event that the tech lets me down. Your training is my backup plan when Apple poops on me! 💩 Ciao fra!

@@JamesJosephFinn if that’s true about getting locked up, I’m sorry to hear. That sucks. No worries man, I do not have that mentality about phone photography. Obviously the phone has some great pros and considerable cons, but I’d say it’s more about the fact that you’ve got yourself a gig and a client. Congrats and good luck! It’s really cool to hear that my tutorials have been helpful. Have fun on the shoot and good luck with the photo editing as well!

@@DiCasaFilm Yes indeed. True story. And it did suck. It was that experience which led me to realize that this prison we call "freedom" has a lot in common with where they put me. More than you know. Lots of guys who did time feel the same way. It is an eye opening experience to say the least. Thank you again for your training; because now I know exactly what to look for in the finished product to judge whether it's up to par. I watched each video twice. They have equipped me with the knowledge of proper lighting and proper exposure so I can walk into this shoot with confidence and control. Peace bro and Godspeed.

You’re welcome!

Great question. As I say in the video, "3 point lighting" is primarily used when lighting a subject, and primarily in a space where you have control over the lighting. Now, that being said: whereas you don't have control over the lighting outdoors, you should still try and determine where sources of light are coming from and try to use that to your advantage. For example, you may want to position the sun behind the subject so you get a natural backlight, or if you are lucky enough to be next to a wall that's painted white, you could potentially use that wall as a light-bouncer. It may be a bit of a challenge outdoors, but the discovery and experimentation is fun! Use the 3 point light concept and try and see how to use the environment to achieve that. Good luck!

Thank you!

Great! May I also suggest my “DSLR Basic Settings” tutorial as well. Super helpful stuff there as well.

​@@DiCasaFilm Thanks Steve! I don't claim to be a professional photographer (I'm a web dev by trade), so I actually intend to use a humble iPhone 14 Pro Max to do all photoshoots going forward. (I know that's heresy to a pro!) Would that tutorial still be relevant? I've never actually used this phone before (I just ordered it), so for all I know it has all the typical DSLR settings baked in.

@@JamesJosephFinn It absolutely would be relevant. The tutorial will work for any camera you have, and if you watch and learn from it, you may be inspired to research and download a Photography app for your phone that has all the settings you’d learn about in the tutorial. Go for it! It’s only an hour long.

@@DiCasaFilm Brother, that is awesome. Thank you so much for your help! That training has now been added to my watchlist. I'll keep you posted as I progress on this journey; as I won't forget the generous assistance you've given me. Very rare nowadays.

@@JamesJosephFinn That’s what I’m here for. Definitely keep me posted!

Thanks. I agree!

I disagree, and so would my cinematographer teachers when I was in film school. But I appreciate learning a new technique.

@@DiCasaFilm OK, I'm interested to know why from a technical perspective. I know why I might vary from the rule in a very specific situation, but I'm interested to know why from your education?

@@PhilTaylorPhotog Well, this is just my opinion. But I do find your rule of “you are trying to fill shadows from the camera’s perspective” to be misguided. What if you are shooting a scene with multiple cameras? What if you are shooting on a dolly track, or handheld? In other words, what if the camera’s perspective is always changing? When you light a subject with only a key, there will be shadows - no matter where the camera is. And so the fill light’s job is to fill in those shadows. To me, it doesn’t matter where the camera is. What if you’re a DP and you light the scene based on the camera’s perspective, and then the director says they want to move the camera 15 feet to the left? You can run into a lot of problems if you go by that mentality, especially if you’re on a tight schedule.

Where can I send the bill? Hahaha. Jk