RED SURVIVAL GUIDE - Manual (Page 35)

68 RED SURVIVAL GUIDE | REV. D REV.D | RED SURVIVAL GUIDE 69
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
SENSOR SIZE & CROP FACTORS
Motion cameras often have a smaller sensor size than
the familiar stills photography formats. This usually
means a given lens will appear as if it were a longer
focal length, and at the same subject magnification,
that lens will also appear to have more depth of field.
The magnitude of this effect depends on the “crop
factor,” which is a measure of the relative difference
between the two sensor sizes:
With consumer video cameras, this effect can be
dramatic — and is often comparable to the difference
between compact and digital SLR cameras. While
potentially advantageous for camera size, having
such a small sensor can limit the ability to depict a
shallow depth of field, amongst other differences. The
combined effect is that these sensors typically give
video the feel of a television broadcast.
However, many high-end cameras have much larger
sensors, which gives their video a more cinematic feel.
These sensors are also a more natural transition for
those familiar with DSLR cameras.
Video may also influence how one thinks about
composition, since standard video formats have
higher aspect ratios than with photography. DSLR
cameras usually have a 3:2 (1.5:1) ratio between
their longest and shortest dimension, for example,
whereas modern video is often displayed at a ratio of
16:9 (1.78:1) or higher. Video is also virtually always
captured in landscape orientation.
CHECK OUT THE CROP FACTOR TOOL UNDER THE "TOOLS"
SECTION ON RED.COM TO SEE HOW YOUR PARTICULAR RED
CAMERA SETTINGS AND LENS WILL BEHAVE COMPARED
TO 35 MM PHOTOGRAPHY:
EDITING & GRADING
For those used to DSLR cameras, motion cameras
with a RAW workflow will be comfortably familiar. Most
even say it’s easier to make the transition to digital
video from a DSLR than it is from motion film capture.
VISIT THE "LEARN" SECTION ON RED.COM TO SEE THE
TUTORIALS ON INTRO TO GRADING WITH REDCINE-X
AND RMD FILES AND NON-DESTRUCTIVE EDITING FOR A
DETAILED DISCUSSION OF HOW THIS WORKS WITH
RED CAMERAS.
One big difference is that with video, “editing”
ordinarily refers to the process of cutting and
compiling various clips into a narrative. This is
perhaps the most alien aspect for photographers, but
thankfully it’s also a process that has been relatively
unchanged over the past decade. As a result, a vast
online knowledgebase has accrued, and numerous
mature software options are available.
BEFORE GRADING
EXAMPLE GRADING
OTHER CONSIDERATIONS
Tripods. A steady tripod is more important than
ever—even under bright light. Fast shutter speeds
alone no longer hide camera motion, because unlike
with photography, one also has to worry about frame
to frame displacements.
Follow Focus. Many cinematographers use a “follow
focus” device to make focusing smoother and easier.
This attaches to a lens’s manual focus ring, and
provides a more ergonomic focus dial on the side of a
camera. It also reduces the likelihood of inadvertently
moving the camera during focus.
Camera Movements. These are a creative tool
unique to motion capture. Panning, tilting, tracking
and following are common movements that can
enhance the emotional impact of a clip, and make
otherwise static scenes appear dynamic. Dollies, jibs
and steadicams are a few of the tools that can make
these movements as smooth as possible.
The familiar “editing” stage with photography is
instead called “grading” with motion. At its core, this
process remains almost identical — all the familiar
image editing tools are still applied using a single
representative video frame. The rest of a clip is
ordinarily scanned only to ensure that the grading
continues to look as intended if subjects or lighting
change. A minor difference is that with video, one
usually needs to stick with global editing tools, such
as curves, levels, white balance and saturation. Local
adjustments, such as the equivalent of dodging,
burning, cloning and healing brushes, can easily break
frame-to-frame continuity, and should therefore be
reserved for only advanced edits.