The video equivalent of the image-enhancement stills photographers carry out on their images. Videographers ‘grade’ video to match the colours and exposures between clips, to create a certain ‘look’ or to edit video shot in a ‘log’ mode for extra dynamic range.
Almost all digital cameras can now shoot video as well as stills, and as well as its leisure applications, video is also increasingly important to professional photographers as clients frequently want movies as well as still images. The key specifications are the resolution (standard HD, full HD or 4K) and the frame rates (30fps, 25fps or 24fps). Some cameras offer faster frame rates for slow motion effects. High-end cameras offer 6K or, soon, 8K resolution and it's also possible to get 360-degree video cameras no larger than GoPro style action cams.
Extended dynamic range movie mode introduced by Fujifilm to handle high-contrast lighting, extending dynamic range by 200% or 400%. Other higher-end movie cameras have a similar feature. It produces flat-looking footage but with extended data in the shadow and highlight areas and the idea is that you process the video later on a computer (grading) […]
This is fully immersive video that’s been shot with a 360-degree video camera. The video footage extends in a full circle around the camera position, which is usually stationary but could also be mounted on a skydiver’s helmet, for example. There are two ways of working with and watching 360-degree video. One is to use […]
Gain is a term you’re likely to meet in video rather than stills photography. It basically means turning up the input signal strength to record a decent value. Videographers are more likely to talk about increasing the ISO setting rather than the ‘gain’, though it amounts to the same thing. It’s still used for audio […]
A mounting system first developed by GoPro but now used widely by other action camera and accessory makers. In theory, any GoPro mount compatible item should be compatible with any other.
This is a small microphone designed to attach to a speaker’s clothing for interviews or presentations, for example. They’re usually small and unobtrusive, they’re hands-free and they help exclude other background noises. They may also be called lapel mics. Some are connected to the camera or sound recorder by wire, others work wirelessly.
A shotgun mic is a highly directional microphone usually used to capture audio from a subject a little way from the camera. They’re popular for on-camera use when it’s not possible to place a microphone on or near your subject. Shotgun mics are ‘unidirectional’, which means they capture sound from one direction only over quite […]
A style of videography where you’re not shooting from a static position, but following the action on foot as you film. You’d typically use it for action sequences. It takes a good deal of skill and it’s best used for deliberate effect, not simply to make up for any lack of planning or direction!
A flexible microphone mount specially designed to absorb vibration and shocks to improve the quality of sound recordings when the mic is mounted on a camera’s accessory shoe, for example, or a portable video rig. Sometimes they come as standard with microphones but you can also get them separately.
A boom is essentially a horizontal pole used to position a microphone or other accessory closer to the subject but just out of shot. It’s used widely when shooting movies or videos.
In video, a ‘rig’ is a harness, a camera mount, a gyroscopic stabiliser or any apparatus designed to make it easier to carry and use a video camera. A rig may also have mounting points for video lights and microphones.
This is photographic lighting which is, as the name suggests, on all the time. This is in contrast to flash, which fires in a very brief, bright burst at the moment the camera shutter opens.
A lighting unit designed specifically for video, typically small and light enough to mount on the camera or alongside it on a video rig. Some flashgun makers are now building a small video light into their flash units.
A visual warning that image highlights are being overexposed and used especially during video recording. The overbright areas are marked by moving diagonal stripes (hence zebra) leaving you to decide whether to reduce the exposure or to leave it if the highlight areas are unimportant.
A feature on some microphones that attempts to cut out loud roaring, whistling noise that you might not notice when shooting but which spoils the sound quality. It can be effective, but it’s even better to use a muffler on an external microphone.
Almost all digital cameras can now shoot video as well as stills, and as well as its leisure applications, video is also increasingly important to professional photographers as clients frequently want movies as well as still images. The key specifications are the resolution (standard HD, full HD or 4K) and the frame rates (30fps, 25fps […]
UHS is a new ultra high speed bus (data transfer connection) for SD memory cards. There are two versions: UHS-I and a more advanced UHS-II type. This refers to the physical construction of the card and does not directly indicate its speed. There are speed standards for UHS cards: UHS 1 guarantees a minimum speed […]
This is what most people are referring to when they talk about ‘4K’ video. UHD video has a frame size of 3,840 x 2,160 pixels, so it’s slightly less than 4,000 pixels wide, but it does have a true 16:9 aspect ratio, so the picture proportions are the same as standard HD and full HD […]
A filming technique where frames shot at intervals are combined to make a video. For example, if you shot 300 frames at 1-second intervals and turned them into a movie running at 30fps, then five minutes of real time would be compressed into a 10-second movie.
Video shot at a higher frame rate and played back at a normal frame rate. For example, video shot at 60fps and played back at 30fps would appear to be running at half speed. Higher frame rates require more processing power, so not all cameras offer them.