[James Ewart]

[Mark Suszko] “You’re paying for the tools, either way. But they’re useless without the skill of the man or woman wielding them.”

Absolutely. I do think sometimes people charge for their equipment as a way of bumping up their price.

I just charge all in and keep it simple.

[James Ewart]

When a painter of carpenter comes to my house I do not expect to be charged for the use of the brushes or hammers.

I no longer charge for my computer and software when editing. It saves a boring conversation.

I do often suggest a client buys a system for a job (if it’s long form especially) and always (well almost) charge clients for storage.

[James Ewart]

[Tony West] “If you have some time before the shoot try shooting some test footage at different rates and see which one you like best.”

I go way back to when we shot over cranked 35mm and 16mm film cameras at 50, 100 or more fps.

I am not entirely convinced video cameras absolutely replicate this process or do they?

Is the relationship between aperture and frame rate the same with modern digital cameras such as go pro? With Arri Alexa and suchlike I understand it’s very similar. But do these Go Pro cameras actually shoot at that frame rate or replicate it electronically somehow?

Thanks

[James Ewart]

Great thread I have book marked it

[James Ewart]

MODIFY >> INTERPRET FOOTAGE >> ASSUME THIS FRAME RATE

Is there this option in FCPX that I don’t know about please?

[James Ewart]

[Fabrizio D'Agnano] “Unless you are going to shoot surface swimming competitions from underwater, and you think you’ll need slow motions from that footage, I’d stick to 1080p 25 fps (especially if you are in a PAL country and you are going to mix that footage with other coming from other PAL cams). Usually, there’s nothing really fast underwater, “

I need the slo mo for various reasons. Detailed analysis of fast swimmers but I’m not going to get time to do tests with frame rates and light levels so will stick with 25FPS. Can’t imagine shooting NTSC at 30 will make much difference when slowed down.

I would have been interested to see how it held up at 72P 100fps in the light levels. But alas another time.

Thanks

[James Ewart]

Thanks Jeff.

Am I deluding myself from my old film days that shooting digital at higher frame rates will result in a smoother slo mo should I wish to slow it down in a 30fps timeline if I have shot at 60fps? Of course I understand there is a difference but shooting progressively at these higher rates should result in better slo mo no?

I

[James Ewart]

[Mark Morache] “Anyone else having problems using FCPX 10.2 on an older computer?”

2009 Imac running latest both fine here.

[James Ewart]

[Noah Kadner] “If it’s for web and no broadcast footage is to be incorporated why do it in PAL? Do it at 24 fps and optimize for the web.”

However I was thinking as we are 50hz over here and the market is essentially UK do our screen not refresh at different rates and there still better to be at 25 or 50fps?

Thanks for the feedback.

[James Ewart]

Just thinking if I am slowing it down shooting at a higher frame rate might make it smoother no?