PART 5 OF SHOOTING VIDEOS MOTION PICTURES ON THE PANASONIC LUMIX FZ2000 FZ2500 FZH1 CAMERA

THIS COULD WELL BE THE LAST ONE OF THE MOTION PICTURE VIDEO PARTS, AS MOST AREAS HAVE NOW BEEN EXPLAINED & SHOWN, UNLESS ANYONE HAS A PARTICULAR AREA THIS WISH INVESTIGATED AND COVERED THAT I HAVE MISSED OUT ON ??
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. The histogram displays exposure levels. Check frequently to be sure your highlights aren’t blowing out and your blacks aren’t being crushed.
For best results, use the highest resolution possible. 4K if you have it. On most units it’s 1920×1080. Some cameras may only have a 1280×720 option, which is still a decent quality level. The lower 1280×720 setting (with appropriate frame rate) may also be employed to produce slow motion footage. This resolution results in a smaller file size, which of course means less storage space will be needed. Along with resolution choice, you have options for frame rate. The cinema standard in the U.S. is 24 FPS (frames per second); in Europe it’s 25 FPS. 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.
Some units will offer 720p resolution frame rates of 50 FPS and 60 FPS. These higher frame rates are generally not used for normal speed playback, but instead are tapped to produce slow motion.
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.
Another big difference between shooting photographic stills versus video is focus. With video, manual focus is the norm. Even the most expensive Hollywood cameras do not have autofocus; a dedicated crew member called a focus puller handles this.
Gaining familiarity and expertise with manual focus is imperative.
Meet this learning challenge by selecting an easily-focused lens. Lenses that have a broad focus ring and long throw (how far the focus ring must rotate to go from close focus to infinity; the longer the distance between close focus and infinity, the easier focus pulling will be) plus a damp/smooth focus ring are best.
As with photography, recording with the lens wide open makes it more difficult to achieve sharp focus. Consider stopping down the lens to sharpen and increase depth of field. Be sure focus is spot-on by using an external monitor. On-camera and off-camera monitors can be plugged directly into the camera’s HDMI port using an HDMI-mini to HDMI-standard cable/adaptor. One option to consider is a small HDTV with HDMI-in. On most cameras the LCD monitor remains active even when an external viewing device is attached, which is extremely handy when more than one person needs to see the monitor.
AND ENJOY.

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