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Another format question
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Awesome, thank you very very much for sharing your wisdom on this, it’s worth money.
When I switched between 60i and 30p and saw the loss of light, I had the shutter on 180.
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[David Burch] “I’m not really sure why you had better light gain in 60i than in 30p,”
Because that’s the way it works. Check it out for yourself. If you have a camera shooting 30p @ 1/60th sec. shutter and then change to 60i with the same shutter speed it will always be brighter. There is a slight gain in exposure over the above mentioned shooting modes when shooting in 23.98 (p) @1/48th shutter because the slower the shutter speed the longer the light has to hit the sensors.
Addition: I just did a little test and interlaced has a 7% light gain advantage over progressive with my EX1R. If you change to 1080p 24 with a shutter speed of 1/48th sec. there’s only a 2% light gain advantage over 1080p 30 @ 1/60th sec. shutter.
– Don
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Cade, you are joking when you write “content is over rated” aren’t you? Technicalities can get in the way of art.
Michael Slowe
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[Michael Slowe] “Cade, you are joking when you write “content is over rated” aren’t you? Technicalities can get in the way of art. “
Field order is always more important than a good story.
rafael -
Field order, yes I agree Rafael, otherwise you can’t view it properly but I was taking issue over Cade’s statement that “content is over rated”. How can it be? Content is all surely?
Michael Slowe
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I was joking Michael.
We see everyday amazing things made with cheap cameras or even with a mobil.
At the same time we see a lot of crap made with the best gear available.
rafael -
Thank goodness for that Rafael, I couldn’t agree more.
Michael Slowe
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Couple of things on that. I agree that content is the most important thing (at least when talking about purely artistic forms of media, such as movies, TV series, etc.), but in my opinion one of the biggest things that distinguishes a novice artist from a master is how well the artist knows how to use the tools available. A master painter is one with expert brush technique. Ansel Adams made his photographs stick out with superb darkroom skills. It is no different in video or film. Regardless of what kind of camera one uses, a master will know how to get the most out of his or her equipment. In the case of the EX1/3, this means knowing exactly what frame rate to use, what f-stop, what kind of resolution, picture profile settings, and so on. The technical aspects of the camera are crucial to the artform, as much as using the correct brush stroke is to painting, or knowing music theory is to composing.
The second point I have is that, unfortunately, in this business not everything we do is purely artistic. Of course, I try to put as much of a creative touch as possible on my work regardless of the medium, but there is only so much one can do when shooting a business meeting 🙂 Sometimes, all the client cares about is making sure the technical is flawless.
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I agree with you David.
My job is to get the best picture and the best sound, but I will never say “content is overrated”.
If you think like that, you may consider your self a video-technician, but not a video editor.
To make a perfect movie, in therms of picture and sound, is just a matter of reading and practice.
Creativity you can not learn it in the books. You have it or you don’t have it.
For the technical problems, I have the COW. Wish I would have the same help for “contents” issues.
rafael -
[Rafael Amador] “Field order is always more important than a good story. “
So what happens if you’re shooting progressive? 🙂
[Rafael Amador] “Wish I would have the same help for “contents” issues. “
You do have the same help. Your friends are only an email or a phone call away.
– Don
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