RED SURVIVAL GUIDE - Manual (Page 33)

64 RED SURVIVAL GUIDE | REV. D REV.D | RED SURVIVAL GUIDE 65
R E D | S U R V I VA L G U I D E R E D | S U R V I VA L G U I D E
BACK-FOCUSED FRAME CORRECTLY FOCUSED
FRAME
FOCUS & EXPOSURE BRACKETING
Misfocus and improper exposure can also cause still
photographs to become unusable. As insurance, one
can effectively bracket their stills by varying the lens
aperture during the shoot, or by slowly rocking the
focus with a razor-thin depth of field.
Alternatively, HDRx™ can provide extra-protection
with high-contrast scenes, such as weddings,
where subjects are wearing both light dresses and
dark tuxedos. Since the regular and under-exposed
versions are taken in rapid succession, one has the
flexibility of either combining these or using one of the
individual frames.
A side-benefit is that HDRx stores two versions of
motion blur for each frame. One version could be the
standard cinematic motion blur (180° shutter at 24
fps, giving 1/48 of a second shutter), whereas the
second version could use a faster shutter to ensure
sharper stills (such as 45° shutter at 24 fps, giving
1/192 of a second shutter). The greater the exposure
protection used for HDRx, the greater the reduction
in motion blur with the second frame. However,
pushing the HDRx setting beyond 2-3 stops can also
visibly increase image noise if the second frame is
substantially brightened in post-production.
DARKER EXPOSURE LIGHTER EXPOSURE
COMPOSITE PHOTO
DISCUSSION
The advent of high resolution video has the potential to transform the visual arts, and is beginning to merge the
roles of photographer and videographer. Artists are gaining the flexibility to output to multiple visual media, and
since the skill sets are very similar, the transition between each often comes naturally.
All the fundamental exposure and sharpness trade-offs continue to apply as they did with stills photography.
For example, one could achieve a more expansive depth of field by narrowing the lens aperture, but this comes
at the expense of more image noise in low-light. Alternatively, one could compensate for this by using a slower
shutter speed, but this comes at the expense of more blur with moving subjects. Shooting video for stills
therefore closely parallels thinking about traditional photography – the results are just more flexible.
STILL PHOTOGRAPHER
INTRO TO VIDEO
WITH THE ADVENT OF DIGITAL CINEMATOGRAPHY, MANY
STILLS PHOTOGRAPHERS ARE BEGINNING TO EXPLORE THE
POSSIBILITIES OF MOTION CAPTURE.
Although the fundamentals remain
similar, other aspects are likely unfamiliar. This article gives an overview of the key differences in
order to make the “cinephotography” transition as straightforward as possible.
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