Colin Mcquillan
Forum Replies Created
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[Gary Huff] “Shooting a higher shutter than 1/120 won’t help much with the slow motion”
I would disagree. To slow down fast action for crisp slomo – heading north of 120 can be a good idea. I often do so for stylized shots I put together for sports show opens It all depends on what you are shooting and the look you are after. Do you want motion blur? if yes shoot at 120 or 60 – or lower even if thats you flavor.. If not and you are after sharp slomo then experiment with shooting up around 1000.
Here’s an example of the type of looks you can pull from fast shutter @ 720p60 – further slowed with twixtor.
https://vimeo.com/13557939Do camera tests and figure out the look you are after before you shot…
Colin McQuillan
Vancouver, B.C.“Live, love, laugh and be happy.”
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[Steve Crow] “.you will see the slow motion effect when you bring the footage in a timeline that is set up for 30 or 24 frames per second”
Not necessarily. With a program like FCP 7 you need to process the footage first (transcode to an i-frame codec and conform to 29.97 or 23.976 with cinema tools) otherwise when adding the raw footage to a regular frame rate timeline FCP will effectively throw away half of your frames and do a blend of the remaining and your slomo will look like a**.
There is different process with FCPX. Not sure how premiere or avid handles this but do your homework or you wont be getting the most out of your footage.
Colin McQuillan
Vancouver, B.C.“Live, love, laugh and be happy.”
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Do you mean shutter speed? If so it depends on the look you are after. I prefer to shoot sports slomo with a higher shutter speed – but also at times will go the other way if I’m after a more dreamy fluid look.
Colin McQuillan
Vancouver, B.C.“Live, love, laugh and be happy.”
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[Bob Cole] “all I see is Sharpness and Contrast all the way down (to the left) and Saturation and Color tone normal. Is that all there is to it?”
Take a look at the Picture Style Editor software that came with your camera. It allows you to create custom picture styles to load onto your camera – with controls that go far beyond what you can manipulate on camera.
This is what folks are using to create the ‘super-flat’, high dynamic, and stylized in-camera looks.Colin McQuillan
Vancouver, B.C.“Live, love, laugh and be happy.”
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If you now like the software and previously got a refund – I’d imagine you should buy it again if you plan on continuing to use it.
The app is updated through the app store. Some people (myself included) could not update and had to re-install to get from 10.0 to 10.0.1 If you click on the “purchased” tab in the app store do you see FCPX in the list? If so you need to delete FCPX from your app folder and reinstall it. If not then they deleted your FCPX licence when you got your refund and you will need to purchase it again.
Colin McQuillan
Vancouver, B.C.“Live, love, laugh and be happy.”
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You are dealing with the overcrank correctly.. If you skipped Cinema Tools, FCP would butcher your slomo. (Instead of playing back each frame to playback at 25fps FCP throws half the frames away and blends the remaining.)
Colin McQuillan
Vancouver, B.C.“Live, love, laugh and be happy.”
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If the clip you want to copy from has multiple filters, and you only want to copy one or two of the filters over but not all, then double click the clip so it loads in the viewer an select the filters tab. Now hilite all the clips you want to add the filter(s) to (ctrl click each one). Now hilite the effect(s) you want to copy over and drag it to one of the hilited clips in the timeline. The effect(s) will now be on all of the selected clips.
Colin McQuillan
Vancouver, B.C.“Live, love, laugh and be happy.”
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Basically what ‘Professor Dunn’ is saying is that your 17-55mm lens, that is made specifically for an APS-C sensor, is going to give you the same framing on your APS-C body as 17-55mm lens that is made for a full sensor camera.
a 50mm lens is a 50mm lens. Some are less wide inside and can’t be used on a full-frame camera (well,, you can for interesting boarder effect..)
The difference is that the APS-C lens uses smaller diameter glass.The mentality behind this is that the APS-C lenses cost less to build, and thus cost less to the consumer…
In the end I always go for the full frame lens’ to future proof new bodies down the road.
Colin McQuillan
Vancouver, B.C.“Live, love, laugh and be happy.”
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Look at the shot at :24. You can see the purple in the BG of the shot. This leads me to believe the shooter white balanced in this portion of the room and the purple shots were shot in that area of the room without re-balancing. You can also achieve this in post as well either remapping the hilites and mids, or using the 3-wheel CC to add purple to the HL’s and maybe a purple glow effect to tthe HL’s to further push the effect.
A few shots may well have a camera light on (0:14, 0:24, :35…) For a good chunk of it I’m still feeling the shooter is positioning him/herself in places that he can utilize the in-house lights (the purple stuff).
What you’ll want to do to your light is, if you can, set it to ‘flood’ and diffuse the crap out of it. Unless you want your subjects to beam bright while everything around them is dark, all you want your light for is to add maybe a stop or 2 of light to your subject in relation to their surrounding. I personally am not a huge fan of the LED panels, nor the Anton Ultralight systems as they pierce peoples eyes and the light falloff rate is steep. The benefit to them is they are relatively cheap (the LED panels anyway) and use fairly low power. Flooding/diffusing an old-schoold Lowell Sun-gun style tungsten bulb is the best looking, but can burn through power fairly quick….
Colin McQuillan
Vancouver, B.C.“Live, love, laugh and be happy.”
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If there was any light on camera to add a touch of boost it was very subtle and very diffused. My thought is the operator was positioning himself in areas that utilized the existing club lighting.
Shutter speed I’d keep at 60 (180 deg) in N.America, unless you know exactly what types of lights are being used inhouse. If you want that hyper-real look increase it, but if you see lines scrolling over your footage roll it back to 60 because you are picking up frequencies in some of the light sources. (or 50 in PAL-Land)
The purple light source is visible up on the grid in the BG of some of the shots. The shooter probably got those shots again by using the available club lighting, creatively positing the subject between the purple light source’s path and the lens. If you shoot with AWB you wont have great results shooting in a place like this. Figure out the ambient light of the room without the coloured lights and set you WB to that. (you could guess 3200K indoors, but that is not always right.)
Colin McQuillan
Vancouver, B.C.“Live, love, laugh and be happy.”