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Shoot Expertise: The Shooter's Toolbox

Jul 1, 2008 12:00 PM, By Barry Braverman

Digital SLRs come in handy for storytelling.

What bracket are you in?

The Nikon D3 features automated bracketing that can be useful against the vagaries of frame-based exposure shift. In this scenario, you shoot three frames for each setup: one at normal exposure, one at one stop under, and one at one stop over. In post, the individual streams are extracted and graded, with the best sequence used in its entirely. Not-withstanding the additional post work this entails, this strategy is less than ideal in high-motion sequences because a desired frame may not appear in the selected image stream.

Touching a raw nerve

While many shooters may disagree, I contend that shooting RAW is usually unnecessary for most HD applications. In the first place, the mammoth RAW files require considerably more storage, which may constrain the number and size of frames that can be captured per session.

The Nikon D3 houses two CompactFlash (CF) media cards that can be configured contiguously for extended recording times, or concurrently for backup in the unlikely event of data loss during transfer of files or other operator misfortune.

Of course, some shooters will opt for RAW capture in any case, citing the enhanced ability to perform color correction, compositing, and general grading chores. My own experience suggests that high-res JPEGs (at 4K resolution) provide sufficient manipulation for most 1920×1080 HD projects without the additional burden of handling and ultimately archiving the very large RAW files.

For time-lapse applications, shooting RAW does provide at least one stop of additional exposure latitude — a potential help when shooting under wildly variable conditions. If you do go with shooting JPEGs, be sure to enable maximum quality and/or anti-aliasing (in the camera setup) because aliasing artifacts can produce an annoying moiré-type flicker once the image sequence is set into motion.

What is your story?

Appropriate use of a DSLR, like every other aspect of our craft, is dictated by story. If you're shooting a report about Los Angeles traffic, you'll likely to choose a shutter and interval that emphasizes the streaking lights of millions of passing cars. Conversely, if your story focuses on the celestial phenomena of sunrise and sunset over a construction site, your settings might be considerably different with an emphasis on optimal exposure and dynamic range for each frame. In the latter case, your camera's auto mode (including auto-iris but not auto-ISO) can be extremely helpful. Some cameras, such as the D3, require auto-focus to be enabled for the intervalometer to function, so DSLR shooters using this top-end model should be so advised.

One other piece of advice: Owing to the demands of your camera's shutter and processor, you'll probably need plenty of power for time-lapse work. This is especially true for shooting cars and people where long exposures are preferred, if only to avoid many individual elements popping up across the screen.

Needless to say, the shooter's toolkit is expanding as many of us are taking more than one camera to the job. We might use a full-size camcorder such as a Sony HDW-F900R or Panasonic AJ-HPX2000 for interviews and landscapes when size and physical bulk do not matter. At other times, we might opt for a compact camcorder such as the Sony PMW-EX1 or Panasonic AG-HVX200 when a compact, unobtrusive capture device better suits our needs.

Adding now to our bag of tricks is a versatile and rugged DSLR such as the Nikon D3. Suddenly, as a shooter, you may find yourself wearing a few more hats on your next production — whether standing on a rooftop for hours shooting time-lapse or capturing a stop-motion sequence at 4K resolution.

Skilled use of a DSLR can greatly increase your value on any production. Who knows? Maybe in addition to shooting your next feature, you'll be capturing the production stills as well.

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© 2008 Penton Media, Inc.