Aaron Stewart
Forum Replies Created
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Agreed. I’ve found 1/100th to be slightly noticeable, but not too bad.
Unwatchable?? 🙂 Suppose thats a matter of taste. I should go back and watch that movie…
What WAS the shutter angle on that movie… do you know Todd? Was it more narrow than 45 degrees?
Aaron R. Stewart
arstewart@gmail.com -
Basically you’ll end up with seeing more detail in objects that are moving, less motion blur. While 1/50th of a second will look mostly normal, 1/100th of a second will start to have that Saving Private Ryan and/or other War movie action sequence look. Every little detail is in crisp focus, movement is slightly jittery, etc.
Shutter speed on these cameras roughly translates to shutter angle on film cameras. Lower shutter angle on film cameras gets those stutter effects (which is higher shutter speed on DSLRs), and higher shutter angle (lower shutter speed on DSLRs) would be like the effect you get in Gladiator in the opening segment after the first battle where everything starts blurring out. Unfortunately, these cameras only go down to 1/30th of a second, so you aren’t going to get that blur effect.
https://en.wikipedia.org/wiki/Rotary_disc_shutter
Aaron R. Stewart
arstewart@gmail.com -
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No problem. Hey you aren’t the same Chris Detjen that went to Brazil in a Nissan/WWF trip back in ’07, are you?
Because if you are, I edited that final video on your group for Nissan/WWF. Small world.
Aaron R. Stewart
arstewart@gmail.com -
I’d say the biggest tip would be to balance your exposure so you didn’t have the crushed blacks in the first place. Especially on cameras like the 5Dmkii and 7d, if you are crushing blacks in production, it is going to be near impossible to pull that information back out of the image, because it simply gets lost between the lack of 4:2:2 color space and the compression codec. These cameras do get contrasty really fast, but making sure the light in your scene compensates for that should solve most of your problem.
These cameras aren’t shooting in any type of raw format for video (such as Red’s do), but go straight to a compression codec. Thus, image degradation.
As far as working with the footage you’ve got using only the FCP 3-way, I would say increase the black levels slightly (only by a few points), and the same with the mids. Unfortunately when you try to get back that information that is already lost, you are going to introduce more noise into the image, so you may be (mostly) stuck with what you’ve got.
You could always PM me (arstewart AT gmail.com) with a link to a short sample of the footage in question, I can download it, use the 3-way in FCP and email you the FCP project back so you can use the 3-way settings I come up with. That may give you something to start with for the rest of your footage.
Aaron R. Stewart
arstewart@gmail.com -
Does that offer discrete recording for at least two channels? I suppose you could pan two inputs left and two inputs right, and record straight to camera. I haven’t used this type of setup, but supposedly the microphone cuts off when an external input is detected, so this should work fine, and you’d get your audio meters right below the camera.
One thing to think about with this setup would be what I ran into with my ZoomH4n… originally I had it mounted to the top of my camera, but accessory management became an issue. If you go this route you may want to look into cage solutions for the DSLRs, such as the indiSquare or Jag35 also has a cage now, so you can have cable management, and easily mount things such as wireless mics, etc. The indiSquare is probably the cheapest option out there, but I haven’t found solid reviews on the product yet.
Aaron R. Stewart
arstewart@gmail.com -
Pretty much… yes.
You could also see about running audio through an external mixing board of some type and then into the camera. Everything would be mixed together (with multiple microphones) BUT you would get the ability to monitor audio right off the board.
Personally I use the ZoomH4n as a shotgun mic, and it has four channel recording with 2 xlr/quarter inch inputs on it. So I can monitor all four channels and record separately, or have the output of that just run straight into the camera. But usually I leave it separate and sync later in post.
Aaron R. Stewart
arstewart@gmail.com -
Todd is most correct, the shutter only fires once for video… it just opens up to let the sensor be exposed to the light and locks in place. Timelapse and rapid-fire sports style photography (or 8fps movies done in all stills) are where your shutter wear and tear are going to come from, the shutter just moves out of the way in video mode.
Supposedly the 7d is rated for 150,000 shutters before it goes out. But reports haven’t started coming in yet from the field as to whether or not this is true. But it is my understanding that a shutter element on a camera like that isn’t going to break the bank, and if you only shoot video with it (or mostly) I wouldn’t worry about it.
Aaron R. Stewart
arstewart@gmail.com -
Cinema Tools is the easiest process. Copy your clip. Open the copied 59.94 clip, conform to 23.98. Open in FCP. Sit back and watch your slow motion video.
Aaron R. Stewart
arstewart@gmail.com -
Are you converting your 7d clips to ProRes or just leaving them in their H.264 native. If you are leaving them as H.264, this will cause FCP to crash, and you’ll need to convert the footage to ProRes using Compressor or MPEGStreamclip.
Aaron R. Stewart
arstewart@gmail.com