what i did today .

In today's lesson I was researching on the basics of how to use the DSLR cameras and the do's and don't s as well as having a workshop on how to use the cameras, i did this today to make sure I know what is expected by me to make the music video professional. Today I used my research skills and organisation. 

Speaking from experience, Skyler shares several tips for producing better video on your DSLR. 

Below, he outlines six key areas to consider, plus need-to-know pointers.

1. Settings

2. Resolution/Frame Rate

3. Frame Shutter Speed + Frame Rate

4. Manual Focus

5. Stabilization

6. Audio

Pointers: In The Field

The first thing to understand is that motion capture (video) technology operates very differently than traditional still photography, DSLRs included. To illustrate, imagine for a moment that your D-SLRs can capture only 2 Megapixel stills in a format far more compressed than JPEG Basic. Also imagine that all settings, such as White Balance and Picture Control profile, are baked-in. Finally, know that very little post-processing can be done later in the editing room. Sounds rather limiting, doesn’t it?

The above description parallels how work in 1080p—the highest video resolution rate on a Nikon D-SLR video mode—operates. Despite the perceived limitations, not to mention challenges, the majority of the video world produces in 1080p and employs some variant of heavy compression.

 SETTINGS

The first thing to keep in mind is video mode is not the same as still photography. For video, you should pay far more attention to determining appropriate settings, then applying these to your shoot.

Let’s look first at the Picture Control profile and White Balance settings to be sure the desired “look” can be achieved in-camera. Remember that with video, settings such as these are baked-in so very little can be done to correct flaws post-capture. By baked-in, the camera is applying the Picture Control profile and White Balance settings in a non-raw format so neither can be changed later. This means that for a shot with a high contrast picture control profile there is likely little to no detail in underexposed blacks or overexposed whites. And shots where white balance renders very blue, little if any other colour information will be recorded. What you see is what you get.

Remedy challenges like this using a powerful in-camera tool: the live Histogram (access by cycling through displays via the Info button on select Nikon DSLRs). The histogram displays exposure levels. Check frequently to be sure your highlights aren’t blowing out and your blacks aren’t being crushed.

 RESOLUTION/FRAME RATE

The higher the frame rate, the sharper any motion will appear during playback. However, sharper does not necessarily mean more natural looking. Humans see things that are in motion in a slightly blurry manner. Try holding your hand in front of your face and quickly wave it back and forth. You see your hand blur. 24 FPS is the video standard closest to the way our eyes perceive things.

 FRAME SHUTTER SPEED + FRAME RATE

In order to capture what we perceive to be natural looking motion, there is a correct shutter speed for each specific frame rate. The rule is:

-The shutter speed should be double the frame rate.

For example, if you are shooting at 24 FPS the correct shutter speed would be 1/50th (rounded up from 1/48th). For 25 FPS the shutter speed should be 1/50th. For 30 FPS the correct shutter speed is 1/60th and so forth.

Of course you can shoot video at other shutter speeds, from 1/25th -1/30th up to 1/8000th depending on the DSLR model. Keep in mind that as the shutter speed changes, so will the look of the video.

– The slower the shutter speed, the more motion blur will be visible in moving subjects.

– The higher the shutter speed, the less motion blur will be visible in moving subjects (making video appear choppy).

Video is easier to watch and is more smooth and natural when the right amount of motion blur in moving subjects is presented.

Due to this shutter speed/frame rate limitation, the settings combination cannot change during capture. This means that videographers face a challenge of having only ISO, aperture and filters as tools to obtain a desired exposure. This can be most challenging when shooting in bright environments.

 AUDIO

Working in video introduces yet another medium to carefully monitor: audio. Capturing good audio is a key component to producing a quality end product. Instructions for capturing optimal audio are well beyond the scope of this article, but here are few tips.

First and foremost–pay attention to your surroundings. Even the camera’s own small microphone will pick up audio you did not consider while filming. Freeways, airplanes, the TV in the next room, the refrigerator, central air all make noise and may muddy sound. The microphone built-in to the camera is good for general purposes, but if you wish to elevate overall quality, consider the Nikon ME-1 stereo microphone. It renders good clean audio.

AVOID OVERHEATING:

If shooting video with your DSLR for a long period of time, it’s important to keep the camera cool. Some D-SLRs have a warning timer to alert you when the camera is getting too hot to operate. Timer or not, adopt best practices that let you work in ways to reduce the chance of overheating: use an umbrella, cloth or other object to shield the camera from heat sources such as direct sun or big lights. When it comes to protecting your camera, little things like a shade can go a long way to prevent overheating.

Source: http://www.imagechaser.com/produce-your-best-ever-hd-slr-video-6-key-areas-to-consider-plus-need-to-know-pointers-2/