Lessons

Lesson Info

Setting Up Your Camera for Video & Audio

We're going to move to a segment now where we're going to actually show you how to set up in your video camera so I think this point we're gonna need to tether our camera yeah, I'm going to show you to talk about the things that you are going to set up first and then rubble show them to you so the first thing you want to do is set up your live you mode a lot of the cameras don't come up with your live you mod set up for when you go into live you mode and press record it's going to take video so that is something that you need to set up your life you mode to be capable for capturing video you want to set your frame rate and your resolution? Does anyone remember what your frame rate we want you to send it to for you and your resolution will be as high as you can get it on your specific camera, which we hope is ten eighty and if it's not by the way, if you only have seven twenty on your camera, just shoot the highest available too exactly we're going to have you guys set your manual I'm s...

orry your audio to manual not every camera has this exactly, but the ones that will show you do have it so you can see where it is that you said that basic gold when we get into it, we'll show it to you is you want to set your audio manually because the auto setting for the audio just doesn't do its good of a job? Yeah, generally, if you can run into problems and loud environments, manual just gives you a little bit control with a little bit of tweaking, just based on the room that you're in. If you walk into a room and it's really loud, you're going to set it lower if you walk into a room it's really quiet here, set it higher, it's basically a simple is that there's a lot more when we get into the digital field, recorders will talk more about capturing quality audio, but for the cameras themselves that's just a general basis from where to start and then we'll build from there you'll be setting your your audio audio's microphone sensitivity is basically what you're setting, how sensitive the mike is, we're also going to be sending the picture profile on here, rob hinted to that a little bit. When we shoot both for video and photo, we both shoot with the contrast, setting all the way down, and the reason that we do this is because when you're in a situation, mother is or is not contrast e, if you have a very contrast image you can't really take the contrast out without hurting the integrity of the image but ifyou're contrast is low you could always added end on its very important to say specifically from video because think of how small the video file is you know you don't have a ton of information there so you need to get it right in camera as much as possible because the editing room is like trying to edit a small j p with a less you know less capabilities of moving it around without hurting the image so one of the things we do is that the picture profile we said the contrast down personally for photos I keep the saturation the way it is I believe you dropped this afternoon and touch and we're going to show you exactly how we do this it's interesting because high quality movies like big blockbuster productions are shot when you see the footage that they shoot whether it's on film or digital video it's scary how bad it looks and your footage if you shoot your video correctly when it comes out of the camera it should frighten the crap out of you should you go oh my gosh like that looks horrible and that's okay because you can always add back in it's always the color date is there we can enhance it it's very it's much more difficult to pull out very harsh red and orange tones from skin in video, remember it's compressed small j pay? Not raw? Yes, big difference, big difference and the last thing we're going to do is that the white balance using live you now, before I started shooting much video, I would use you to the presets on my auto white balance, but you guys are gonna love this once we show you have to set your auto your white balance in the live you mode and not every camera does have this capability, but it is really fantastic to be able to actually look in your image and set that white balance so that it looks really, really and get it close, at least this way later on, you're not doing a whole lot of color correction color correction with video is difficult, okay? It can be done and you can do a lot with it, but you can't it's not like photos where you know it's, you're dealing with one frame, you're dealing with images over time, okay? Lighting, conditions, change and exposure changes over time sometimes, so we have to be at we have to be aware of that. So you want to get us close to really in camera and then work with it later so you have more flexibility and not correct the idea is to enhance, not correct. Okay all right so you want to ok, so what I'm seeing over here is the first way are gonna have tio tether this camera I don't know if one of the tech guys do that for us but basically you know what while you set up the tether I'll talk about the other things that will put on there yes, we want to show you guys the back of the camera so you can really see the many settings but one of the other things that he's going to show you how to set up easy finder as well that's the kudos the finder the eyepiece that goes onto the back of the camera because it is an attachment and another thing that you've got to put on for the attachment so it's a little bit of a set up there also gonna show you had to set up the video mike that goes in the hot shoe on the camera the road video mike pro is the one that we use and a quick look at least now the quick release plate is really keep for fusion I think because you want to have a quick really quick release plate attached to the bottom of your camera so that you can easily pull the camera off the mono potter tripod, shoot your pictures and then slide it back on really quickly rob uses this also for switching from a mono pod teo his like him or mono pod teo his slider the synovate atlas and it's all the same exact quick release so he can just pop off one pop on to the other and keep going so putting up that quick release is great are we tethered here we are you know what? I'm just gonna make my way back over to the set. I was just gonna okay squeeze by wait okay, so I just which cameras like ok, so what is happening here? This is not my normal rig, okay? This because normally I shoot with just the camera body and thie external mic on the hot shoe, okay, but in this case, because we want creative live we want everybody to see at home what it is we're doing with the camera in order to tether the camera to the to the broadcast we have to use the external monitor, okay? And that allows the tech crew here to see what we're doing on the cameras, so just I'm going to hold the camera and what you're going to imagine is when on demonstrating stuff pretend that this whole thing he is not here. Okay, this is not part of my normal set up. I know guys that do shoot with external monitors I just find them to be, you know, from out the field shooting the wedding it's a little cumbersome add more weight to the camera so I'm not generally gonna shoot like this again. So it's, just the body. And then this mike, which is attached to the hot shoe. So I'm gonna grab my mon a pot here, which is my main stabilization device. And watch this. This is really great for you guys were gonna be shooting with the same camera photo and video you're gonna have on the bottom of your camera. You're gonna want to get a man photo quick release plate. Okay, it's a five o three quick release plate and all of the devices that I use have the same amount. Okay. It's, a man photo five oh, three mount andi comes in all different forms, different heads like the head that's on my slider and the head that's on like my steadicam. But the beautiful thing about these quick release places that they're universal. So no matter what device I'm using, aiken simply pop it on and, you know, I could use it in any form. So, you know, I could simply lock it on to my model pod or I could just take it off and put on my slider. I could put it on like, like cam. And it's all universal, which is a beautiful thing it makes just transferring between devices a lot easier. Okay, so here we are locked on the model pod now we're showing me the menu here and I'm going to move out of the way. So you guys this's a five mark too? I do shoot with five team are too I haven't decided what cameron gonna upgrade to, yet it'll either be the five mark three or I might go to this candidacy three hundred, which is a cinema camera very high in cinema camera without doesn't have photo capability these are these are high and the large format sense of video cameras, so this is my tool of choice for right now and I'm in the menu of the five day mark too. I totally understand that not everybody's going to be using a five day mark too, but the general principles behind what I'm going to show you here a relatively the scene so you just have to be able to find in your menu where these are ok. For those of you who are five mark to users, congratulations, you're having it. For those of you who used a different camera, you're going to look for the similar settings in your camera, okay it's really not that difficult, so five demark too, if I hit menu and hold on, there we go. I'm going to navigate over to my second yellow wrench menu, and down on the bottom of the screen is the live view movie function setting menu item, and I'm gonna click that, okay, straight out of the box. If you have a five day mark too your video live, he was going to be disabled, so you have to change that to stills plus movie and then click movie display, okay? And then you have those little icons of their little camera. Plus the video equals live you display and that's great this way. When you click into your live view on the camera, it means you'll be able to see what's happening on the lcd what's what's coming through your lens is being shown on the lcd screen. Okay, so that's the first thing you want to set up a lot of these things, you don't have to worry too much about grid display. What this will do is put you see these little diagrams of the grids here. It'll overlay this on top of your image when you're not filming, which is actually nice, because one of the fears that we heard was somebody worrying about for horizon lines when they're shooting video, so if you're trying to frame up your shot and you wanted make sure that your horizon line the street. You could have that grid option there. Okay? And then when you shoot, I guess it does go away, though it does go away once I press record on the camera and, you know, just, you know, you gotta bear with us with the tethering here. It's a little bit different. You see that it has gone away on that is just for framing and composition grids meant for rule of thirds. So it just helps you teo do that. So I'm going to jump back into the menu here and you'll get an idea of what are we set up for? Frame, rate and quality. So jump back into the menu on there we are live you movie function settings. And now, down here, you can see I'm set to nineteen twenty by ten. Eighty at twenty four frames per second, most cameras that shoot in either thirty twenty four and some, even sixty. You will see year that the number of on the right or the left, whatever it is, is directly related to the resolution. So nineteen twenty by ten eighty is full hd at twenty four frames per second. Okay, that's all you need to know this is what I recommend you shoot it. All right, some people like the look of thirty some people like that more home video type of look, if that's what you're going for, by all means, feel free to shoot that I just find that twenty four frames per second to me looks more like cinema, and I like the look of it. So I'm going to set that the next thing you're gonna want to set and depending on your camera, may or may not be in the same menu, you might have to navigate out to find this. But you want to find where it says something about sound or audio recording, right? And we're gonna hit okay and here's, this nifty little meter here that we see and you can see it's picking up my voice and it's actually picking up the voice from the on camera microphone, the external microphone that I have plugged in. All right, if I were to unplug this microphone, it would pick me up through the camera mic and noticed something. It got really low, right? Why is that? Why did you get all quiet all of a sudden? Well, the camera microphone, the microphone night ships with the camera that's built in is not a very sensitive microphone, okay, it's not meant for capturing really high quality audio so the internal mechanism is not the greatest quality in the world. It would be the equivalent of spending thirty bucks on a microphone as opposed to four hundred dollars. Okay, that's how difference the quality of the microphone is so what I've done here is with this external microphone this is the road video mike pro okay, this is a very sensitive microphone and a lot of times, the more sensitive the microphone is, the less noise that will pick up natively. Okay, if a mike's elements of mike's electronics are very sensitive, it'll pick up more of the natural sound, so you're not gaining it up. Picture this. You guys are photographers if you're shooting a photograph in low light. Okay, but it's too dark you've you've underexposed it, you've got to bring it up, right? Well, what happens when you lighten up a photograph, you get grain right as noise, video and audio are no different. The more you try to enhance that image, the more noise you're going to get an audio noise translates the things like or okay. Noise and sound comes in and very different forms white noise, pink noise, dark noise. So we're the idea behind capturing clean audio is t try to eliminate as much of that in the microphone and in the recording unit is possible this microphone is about two hundred forty five dollars mike might even be a little bit more than that but this is a really nice onboard camera microphone okay this will not pick up a groom standing up at the isle giving his vows from forty feet away you'll hear him but it's going to sound like this it's going to sound way off in the distance okay and actually product probably sound too bad to people at home because I have a microphone right here that the key to clean audio is you want the microphone to be as close to the source is possible ok if I move my mouth closer this mike gets more bass in it if I move it away I sound you hear more of the room okay this is not meant to capture people far away this is meant to capture people from a distance of maybe eighteen to thirty inches okay with quality however whatever you're capturing on your camera you wanted to be there because you need it later to sing things up possibly or you just want it in case something fun happens and you just wanted to be able to have that okay so for now what I'm doing is I'm plugging in this external microphone and because of the sensitivity of this microphone I've had to dial down my record level almost all the way dead if I go one notch to the left it's completely off if I go one notch to the right it's pretty good why is that? This microphone has a plus twenty d b game decibel stevie means decibels okay and what it's doing is it's enhancing the signal and pulling out noise all right so it's giving me a nicer quality sound the only thing is I have to tell the five demare too hey, chill out don't record this so loud because I don't need you adding your crappy audio crap into my great mike ok, just let them might be the work so what I'm doing is here I'm basically telling mark mark to do as little as you possibly can I don't want you to do much and because of that now I'm gonna have a nice quality sound okay if I just enhanced this just a little bit and just the kind of because of this room it's a little bit echoey I'm going to just raise my volume is a little bit and there's this number twelve here which you can see I'm now peaking at peking is the maximum part of the audio what you're looking at here it's called a v u meter it's a volume units meter it's the measurement of volume you know with light meter is on your camera this is the equivalent of a light meter for audio okay, so it's just telling me how loud my audio is if I talk louder it's going to go louder if I talk software. It's going to go softer. Okay, very similar. So the idea with good audio is they put this twelve here for a reason. Okay? Because this is actually negative. Twelve, not twelve anything below zero. Imagine this is like a temperature scale zero is zero and ending to the left of it is negative. Anything. Is that the right of it is positive, right? So the negative twelve they don't put the negative there because it's it's indicated here is pretty decent audio. If you can keep things peeking around negative twelve d b you're pretty much guaranteed to not destroy the audio. What happens when you overexpose the photograph? Blown blows out, right? Data's gone? For the most part, unless you're shooting raw and then you might be able to preserve you might be ableto bring back some of the data. Okay. With audio there's no such thing as raw. Okay. So if you want audio is clipped. It's called clipped or distorted or over modulated. Once this once this audio level gets up here and you see the red once you see red, you're dead. Red is dead. Red, is that it was the audio broadcasting one on one. Red is dead so you never want to be up in that level because once audio is distorted it's gone there's nothing you can do to save it there's no technology on this planet that can go in and say that although it's gone completely done so just be real careful so they give you that negative twelve there as a guide. So if you're in the loudest room you wanted to peek exactly how it is right now touching right up against that twelve and you might have spikes and you might have things that push it over and that's goingto happen. Okay, but generally try to keep your audio around their this is why we teach manual audio because you're going to walk into the bride's house and what's gonna happen might just be bombing the bride, right? And they're just sitting there there hanging out with senior session, right? And the seniors this kind of bouncing his basketball it's just chilling, you know, it's not really loud. And then you walked into the party at night and there's music and there's all kinds of chaos and it's loud and you're gonna have to dial that down accordingly, okay, if you put the sound in auto um it may or may not do a good job there's no guarantee I found that on audio on auto in a quiet room brings up the noise but what happens? It adds noise right? It'll bring up the sound level but it'll add noise and then really loud environments it's just completely ruined it's just pegged to zero and beyond and it is done so we really try to avoid using the auto if possible whenever I'm shooting I have to be real conscious to go okay, well kind of ruin my in whom I filming what am I doing? Okay, let me just go in here, make sure my audio or make sure my video set twenty four frames per second in nineteen twenty by ten eighty and now my audio set the man you want negative twelve. You guys just understood everything I said because it's that's all you need to know is that good? What if, like you were saying about the like, if you're in a quiet room like this's okay? And I mean, we're getting pretty good levels right now, but what if you go to like at night and you have it all the way or that way dial down do you go on on your mic and bring that the decibels down? Or yes, yes if I'm using this road video my pro and let's say, I do have a child down here ok in this room again it's it's not really there we go it's picking it up pretty loudly here okay? And that's it's spiking it's almost too loud at this point I'll take the mic and take the twelve the twenty d b plus off and go all the way down to negative ten now if I'm in a loud room it's much more controlled okay, now I can tweak it depending on my environment okay really get into the habit of shooting manual audio in controlling it listen there's going to be times where you completely mess up and you forget I still do it I've done it yeah, I mean I've shopped rides pressing on oh crap thie green light wasn't on the whole time, you know? And you know we've become more vigilant, but you know, I worked with for cinematographers the day of a wedding and you know, including myself and I have to wear it was like way keep each other account more like to change your audio did you change your eyes your audio down? Did you format your card? You know, because you really have to be vigilant it's a lot of stuff to remember if you're just like interested in the images and you don't care about the audio's turn off or just keep it on but you don't, you know don't worry about what it's doing but always recommend try to record it because you never know what you get captured you might capture a once in a lifetime moment. Maybe you're shooting a baby. The baby has his first words. It can happen, you know. So make sure your audio's on it's really fun and normally just as faras the set up of the camera goes for that. Normally that might just goes right on the hot shoot the camera? Yep. Normally it's pops right here on the side, and then you want to show them the have yeah, sure, man, a zit was showing you guys a little bit before the secu dozy finder is fantastic because if I put this on the back of the camera now, I can look through here with this on I can't use the live beyond my camera. This this kind of takes the place of my live view on the cameras. I can't really show that, but for example, make now when I'm shooting, you can look through here and see everything that you're seeing here. The beautiful thing about the five d mark three and the candy for our side tonight candy for is the view meter. This little view meter's actually on your live you which it's not on this camera, the five team, or to actually have to go into the menu to look at my view meter. That's why it's important to keep checking it but the beautiful thing about the night condi four on the five mark three can defy the mark three is your via meter will show here on the screen and show you what's happening and you can actually change it without having to go into the menu, which is even better so there's some pros and cons to that sort of thing so it's far setting up your camera for being ready to shoot video now you're ready now you're ready to start filming, but we're going to take a couple of of small tweaks to make sure that the images that were capturing your nice and ready to work with after okay, so what I'm gonna show you now is how we do our white balance, okay? Because this is really a question we get asked very often you could trust the auto on your on your camera if you want to the auto white balance there's no guarantee that it's going to be what you want it to look like and if you're using if you're an instance where you're shooting with video with two cameras and you have auto set because of the lenses in the makeup of the camera might look the same, right? So we want to make sure that I like to do it manually and dialled it manually so we have the white balance but here let me just get back in my life you sorry it's getting to the white balance so you can see here there's vanessa and the image is a little bit warm it's you know you could see the skin tones are a little bit saturated her face you know it's a little red s so what? I'm thinking sorry but it's because of the camera not but we're under this um very white light in here in the light here is great it's really true very natural light so if I just press walman live you if I press my white balance button it brings up mice my all my different options here, right? So here's my auto white balance you can see how you can see how it's a little early to move over here so I can see and don't mind the steadiness I know I'm not being very steady right now that's auto okay that's daylight all right pretty why's it similar because these lights air daylight balanced thes air fifty six k temperature lights ok, if I go to shade whoa because when you go into the shade it cools things down so it looks to compensate all right and it likes that warm up your image a little bit if I go too cloudy, it's just pulls down some of the little bit of the background tungsten obviously we're not under tungsten lighting, so this is what your image will look like if you go from outdoors to indoors and don't change your white balance okay, auto will compensate for you white fluorescent lights a little purple a little bit on the green scale on that flash obviously is daylight but in this case, it's actually reading it a little bit warmer and then we have our kelvin temperatures and this is what we use. Okay, so here I can die. Elin, how I want this image to look all right certainly don't want to be a twenty five I don't want to be cold I certainly thirty eight looks a little bit too cool for me you can see the backgrounds very blue, the whites are not really true exposure back if I dial it up and here I'd probably want to be somewhere in the range of forty two and that's gonna give me a really natural skin tones and then again, we're not looking for oversaturated images, so we shoot flat and what that means is you know your picture profiles on your cameras, your familiar picture profiles, neutral landscape standard we shoot neutral, we actually will take the camera and watch the difference when I go to neutral notice how it's much flatter it's, not his contrast e it's not a saturated we want into the you know, second show's over each of the settings are so I think that you are actually contrast is normal there? Oh, yeah, it is I might have had adjusted for something else. Yeah, so we just dial it back down there that's normally the way we should right there so you see is a little flatter on dh this is because we can add the contrast back in later and this is great on bright sunny days when you're outside and you lose the prize wearing a white dress okay, so you'll lose a lot of detail because it's blown out because you're trying to expose for her skin and maybe your you know for other things and you're losing the detail on the dress this will help you to preserve the detail on the lighter images in the later part of the image and you could always enhance it later so way definitely tried teo recommend shooting flat now the question we get is well, I shoot my photos in standard so whatever time I have to go shoot video now I got to go back to neutral it depends it depends on your camera. Some of them have custom settings where you could just customs like set one of your customs settings too flat and then when you switch over your video, just go to see one and now you can shoot that way it's all personal preference everybody has their own method for this, but we definitely recommend dialling in your white balance manually because you'll have more control. The problem again with video is once that image is too saturated it's tough to pull you can pull it out but you're gonna lose detail on dh when you in pulling out a contrast is virtually impossible so it's better to add in then take away so in a nutshell that's how I set up my camera so just a recap in the menu you're going to find in your camera where it says live you move v function settings or movie settings or video settings whatever it maybe change your movie record size the nineteen twenty by ten eighty your sound recording to manual and record level toe whatever we're since sometimes I think on the night constance called sensitivity okay, you want to set it to whatever it is appropriately for the room and then your white balance is going to be manual and that's pretty much it now you're ready to shoot video okay? A lot of questions we get is well, I don't know how to get my cameron alive you there's a lot of cameras ship with live you disabled so you might have to go into your camera and set up a live view that's pretty much it any questions about this just trying to visualize the workflow of what I'm doing when I'm putting together a fusion project and I'm hearing they all say that the photo and the video need teo be similar in the project, so when I'm on a shoot and I am typically shooting in raw, when I'm going to do my project, I am then going to shoot similarly to how I'm setting my camera to the video mode, because shooting a camera is not going to look like the video settings that you just went through, so I'm seeing that this is kind of a separate little work flow within this session, but I'm not shooting, enroll and then also going out, I'm going to switch to video and just do the video here because they won't match. So am I understanding that correctly? Will it will match in aesthetic when you're finishing, you're looking at it, you might have overall picture, but when you put it into a video file it's shrinking it way down so it is essentially it will match. The idea is that you're shooting them both in the best quality that you can and that's what I think of it this way, you're you're you know you're gonna be confusion slideshow you know, the fusions larger, it could only be so big nineteen twenty ten. But you know when you shoot rolling just twenty two megapixels or whatever it is, you're these giant files, right? Well in order to get them to fit on a screen that's ten eighty scaling down but generally the beautiful thing is you only have to scale them down so far an emoto let's let's say I'm going to use animal or to build my slide show any slideshow program for that matter if you import j peg that's three thousand pixels it's going it's going to compress it to make it fit within the program part of the program's infrastructure is designed to do that it's going to say, well, we know the video files women into ten eighty but we know these photos are massive, so we're just going to scale the photo so yeah, you still want to shoot your highest quality photo and video and then let your software will compensate yes, you're welcome I know it really is tough to get your head around you're working with such large images photo and this such small, relatively comparable images for video and you're like how these two even mix but the beautiful thing is when working with video the photos of secondary, the videos, the heavy stuff it's the reverse roles it's like video becomes the heavy stuff in the photo isn't is nothing photos one frames, one frame try doing twenty four frames per second minute. You know, you just imagine, like, premier and final cuddly duking it out with photoshopping lately, you know, he's kind of like what? We were stronger than you are. Teo. Teo, just you think you had mentioned earlier that when you photograph is well, you also shoot flat? Yes. Ok, I just want to make sure you said that. Is that too? Like, like you were bringing up to bring the consistency between the images? It does that as well. Most the time I am just shooting photographs, though I do it so that I have the best quality image to start out with. And I know that if I shoot flat it's going to give me more data in the dark sand in the light's really, because the contrast isn't there, so I can always add the contrast and afterwards, and just because you don't even add contrast when I'm late for my pool blacks up, I don't add the contrast. It just gives a better image with better detail in the highlights and the darks questions from from all mine. Yeah, we have tons of questions, our mansion so you can saif answers, so yeah, so silvery asks, do you recommend recording the audio directly onto the camera or keeping it on a separate recorder? Depends on what you're filming in what your final application is going to be four starting out definitely just this is stuff one use the room mike it's easiest this way it works directly with your file and it's already sink tough to what's going on that way if you have already mastered this type of audio and you want to do other things then yes you can do it extremely but honestly to start out I would just do this because you've been used this audio and I'm going to show you on day three howto put it two different visuals so I would leave it at that so that you could start out with this and then go you get you get into having to sync up the video to the audio when you record the audio separately which is how they do in the movies but again now you're trained now you're crossing over into filmmaking okay there's that line between fusion and filmmaking and you can you can blend it is possible we'll show you have but for now make it easy on yourself okay and a question from never give up goodman from new orleans how easy is it to change your settings while shooting can you see the view meter on the screen while shooting depends on the camera like I said before the five mark three and the night conti for actually have the view meter in the live you so you kill me, you can see the audio levels, you can also adjust them on the fly with those cameras, the five dean martin you cannot the five day march to I have to go into a menu to a to see my view meter and be teo actually, just actually a menu that many. So it's it's not that easy to change that's like two or three different steps get into it, but yeah, I mean that's the beautiful thing about the newer cameras, and I'm pretty certain that all the newer cameras that come out from this point on I'm gonna have that feature, so we have a lot of noodles from portland are noodles says my camera doesn't have a menu option for audio adjusting. Is there a way to set levels of the road video? Mike another way? Yeah, the road that he'll like the pro version okay there's, there's a bunch of different there's the road that you like, then there's the road video micro, then there's the road video like hd the road the deal mike pro has a negative ten zero and plus twenty game switch on the back of it. Negative ten will drop the level lower zero is its default level and plus twenty it gains it up and another audio question is from jean c, which is who's in malaysia for audio would it be better to have it set to a lower setting and have to add game later than haven't lost to clipping? Absolutely. However, when you goto ad game to it later, you're going to add noise as well because it's not just gonna boost of the good parts of your audio it's going to boost up all the bad parts of your audio too technology's getting veteran better than there are ways to remove the noise in post production we'll show you a little bit of that, but just like in light room how you khun there's a noise reduction filter you can kind of do that with audio, but it is destructive so it'll destroy the good parts of your audio. You know, quite a bit it's, depending on what method and then rick is asks, do you have designated cameras for tasks on the job? So do you change settings every time you want to take a photograph and then switch back to video? Generally, if it's just vanessa shooting video and photo by herself, she does have to go into the camera and changed the settings. The beautiful thing about the settings that we showed you is that once they're set their set, the only thing you will have to change your white balance and your audio so I mean you're white balance actually if you're in one environment, if you're shooting in one place in your outdoors, you can probably even rely on your audio. Or you could just, you know, it's. Moving indoors, outdoors in the room to room and location. Location that might throw you off. But, yeah, if she shooting alone me when I'm doing films, and I have three cinematographers and where we have four cameras of five cameras between us, yeah, that we will assign roles like the camera that's over here on my glide. Cam is set for that. For what? I wanted to capture their.