Daniel De avila
Forum Replies Created
-
Hello again
Just reviewing a few pots from 2008 and it seems that shooting under certain types of florescent lights can be a problem.
Turning them off seems to be the best solution but I seem to get good results shoot with a ECS shutter setting, allowing me to dial out the flicker.
I take it that this is a good solution? Any thoughts?
Sincerely
Daniel -
OK – many Thanks
Daniel
-
Hello
Apologies for the delay in responding.
Many thanks for your ideas. It was very helpful.
Sincerely
Daniel -
Agreed..
Hello
Some people have mentioned this before and the general consensus was that progressive (especially for web) is the way to go. I think it was also mentioned that you actually loose resolution and quality during the de-interlacing process.
If it helps, I would shoot 1280 x 720 25 fps progressive as it’s a bit easer to work with but 1080 25p is probably what you would be more comfortable with.
Do you have time to do some test shots, as this will probably come down to personal preference and work flow? Along that line of thought, you might want to try a different look than what you have been doing in the past. Perhaps a progressive image might help with that.
If you interested (perhaps you already know) here is a link to a nice picture profile that I have been playing with. I have been shooting with a vortex media picture profile and I think it’s too sharp for my liking.
Either way its a cool little web site…might help.
https://marvelsfilm.wordpress.com/2009/02/18/marvels-ex1-and-ex3-profile-settings-for-filmic-look/
D
-
OK
opps…
thats 199.00 US – excluding a hard drive.
But still…
-
Hello again
quick addition: it seems like it might work well in controlled environments. I don’t see any cables locks and it looks like you will need to keep the media slot door on an EX1 open while recoding…
ohhh…the temptations of cheaper equipment.
-
OK – understood
Many Thanks
-
Ok many thanks for the information.
Sincerely
Daniel -
Hello
Thanks everyone. That was interesting stuff.
I guess I have some more test shots to do…
All the best
Daniel
-
Hello
Thanks for the replies.
Mark:
I should have clarified that I was talking about progressive fames only and not interlaced or fields type stuff.Yes 60fps (frames per second) can be slow motion if used as an over-crank and then playback in a time line that will interpret it as such. But that’s not what I’m talking about.
My understanding is that there are HD progressive formats that do record at 50 and 60 fps (progressive) and that their are editing platforms (like FCP) that do have 50fps (progressive) presets to edit that material as 50 or 60 fps progressive.
For example: one of the shooting formats for the Sony EX1 is HQ 720/50p. That’s recording at 1280 x 720 at 50fps progressive, as supposed to 1080 50i, which translates to 1920 x 1080 25fps interlaced. Or the US variant, 1080 60i, which I think is 1920 x 1080 and 29.97fps. FCP has a present to match this footage. Weather or not your third party output card does some sort of pull down for monitor playback is another matter. (hmmm…or is it)
So by the looks of things you can record and edit in 50 or 60 fps progressive and not necessarily use that for slow motion / over crank.
Michael:
“Except if you are shooting 720p, then 60p is the norm.”That’s kind of what I was getting at. Why shoot at 60p? (That’s 60fps progressive) why not just shoot at 30fps? (or 29.97fps progressive). The Sony EX1 allows you these two options.
Or another example is some DVCPRO HP footage I’m currently looking at. Its 720p at 50fps. Why 50fps over 25fps?
I can understand the desire to shoot at 24fps, specifically if you are going to transfer to film.
So what does shooting at 60fps progressive (59.94fps) give you that 30fps progressive (or 29.97fps) doesn’t?
Is it a style choice? A broadcast TV/production choice?
Hope that makes sense. And I hope I’m not driving any of you nuts with this….
Sincerely
Daniel