Chris Millar

If the strobe fires when the shutter is half over frame you'll see exactly that ... When they are running at near similar frequencies you get a kind of wagon wheel effect. Not so cool, unless it is exactly what you are after. Many super8 cameras have a flash sync output - perfect for getting a signal that the shutter is open - you just need a flash that can take a suitably 'formatted' pulse of whatever it requires to trigger it accordingly, if it is modern enough and DMX only you're up poop creek tho as the DMX strobes I have seen only have speed control and not either phase adjustment or an accurate start time (and simple manual controls on the back wont help you much either)

We've used a couple of gas cookers before, just below frame - depending on the shot you have to experiment with focal length and placement ...

Love the big kink in the corridor where the painted backdrop starts :lol: How fast is the actor walking in the scene ?

Stu, both the EX1 and EX3 are PAL/NTSC independent - they shoot both formats :P

I reckon post - the effect is accentuated however by the use of a tracking (circular?) dolly also... In repositioning the frame one way you move against the dolly causing only a subtle parallax change but no camera move (kind of a sideways vertigo effect) when you reposition in the other direction you move with the dolly and get that hyper fast move you see ... You'll need to shoot wider and scan larger than you intended output res to get the required frame to play around in. Tilt and shift lenses and mounts usually work on a friction system like your standard focus or zoom - they are in essence always left loose, but cannot be manipulated that fast - in any case it wouldn't cause the effect you see here, although I reckon it will still interesting so give it a go - investigate into lensbabies, pretty much what you describe ...

D19 is a goody also - yes clearing bath as discussed is required ...

Are you using a large format camera rail there ? Hmmm, in the shoots we have done (16mm) in stereo with that much parallax we found the results a bit odd to visualize as 'normal' - as if our heads were scaled up to have eyes that far apart which resulted in the image looking much smaller, but we knew it shouldn't be that small and hence a kind of well, strain. We used Bolexes butted up as close as we could with timelapse (the motors would separate them too much otherwise) and got better results... Thinking for the next we would shoot one camera upside down so they were both dumb side together - the parallax then would be near on the average interoccular distance (is that the right term? google not much help there...)

http://www.sci.fi/~animato/

Likely it will have a 1.33 gate - maybe it is super 16 .. in which case it isn't 1.85 it's 1.66 - and we cant tell you ... just look at the gate and see :blink: :ph34r: T exposure is for as long as you hold it open - you are referring to 'I' mode ... Cant remember how long it is open for, shutter angles (as in the traditional way to think about them) aren't a consideration as the shutter movement is intermittent when using single frame mode oops, time for tea!

Because the footage may have been zoomed in slightly in transfer ... like having a slightly longer lens on a correspondingly smaller format ... loosen up the mount and move it around whilst looking in the finder :ph34r: you'll see the extent of the coverage ;) and centre it properly in the process - I have noticed that some super16 Bolex masks are sometimes lightly smaller than the gate aperture too - so really its anyones guess :rolleyes: Best examine the neg, and not transfered footage huh

Remember with super16 you'll fog up sooner as the image is projected closer to the edge

Forgot to mention: 1000 points for those who watch the whole thing :lol:

Hello, here is a piece I made (shot and edited) for 'Orphan Relief' an Irish/New Zealand Aid organisation currently working in Liberia, West Africa. This is the version made for a presentation, with a relatively captive audience so it has a slow start that builds - basically I'm saying if you decide to watch it, trust me it gets better with all the best stuff crammed at the end ;) An online version may call for a punchier beginning to capture the audience ... We'll see I looked at the current crop of similar videos out there and decided to take a different approach, we don't need the fact that these kids are living in war torn poverty pointed out to us, it is blatantly obvious when you see the surrounding context, which is to say the background imagery in the frames ... I chose instead to show the amazing resilience and goodness that has come out of it, born %100 from the kids themselves - perhaps this will encourage a more positive/constructive approach to 'Aid' from a western viewpoint. First to admit I might be a bit naive, but we all have to start somewhere huh. EX1 completely standard setup onboard sound 1080p25 and some overcranked 720 thrown in for fun - Very run and gun, (white balance ? phiff !) so expect some less than perfect camera work and sound - also this is my first time editing, so I was up against both time and technology, zero work done in terms of a grade etc... That being said, I think its ok - would love to know what you think http://www.vimeo.com/4467179

not an editor but I'd try exporting the frames as an image sequence then reimporting them - yes/no ?? prob a much easier way, but hey ...

In this particular case I'll leave that to you Karl !

Quicktime tells me both display and encoded when I apple-i current=display actual=encoded Problem solved two days ago (thank you for alerting me to this floating thread) - I updated both progs via the update manager and voila - ALL problems gone. I could have sworn I had auto updates on - and found that one of my macs had it updated but the one I was working on no ... I was going nuts I tell ya - spent so long trying everything assuming due to my lack of knowledge that blaming the program would be a easy way to get no where fast... But I'm both happy and unhappy to say it was FCP/QT at fault :lol:

This is why I say "all other things being equal" (which I guess in this case :rolleyes: is to effectively say a continuous rotating shutter and not some intermittent or electronic camera) ... and I ask the OP to explain why they used the word "still" with regard to the over exposure - due to the ambiguity of that statement it isn't clear yet. looks like the beginning of a lot of discussion stemming from one little question - and notice the post count of the OP - hmmm

I was aware of both of your considerations at the time ... It was a rather blunt question with no qualification so I simply answered accordingly. (At the time I wished that the calculator I had gave more decimal places). :P

PM from the OP: The value I gave is the exact compensation for a speed difference factor of 10 (all other things being equal) Not quite sure why you say 'still over exposed' either - you realize that going from 0.1 fps to 1fps and not changing anything will lead to underexposure, so to solve your issue, just leave it as is ... Better yet, figure out what is going on - have you taken a reading with a light meter ? more info please

Heh heh - yup, have discovered this also ;) the Aspheron knob changes the back focus - as in any other situation with a incorrect back focus, the focal plane will move when you zoom... which in some odd cases with a bit of playing can actually be helpful :lol: Otherwise you're simply stuck with the one focal length - but yes, what you see is what you get ...

David Lynch - Darkened Room a film about bananas http://www.youtube.com/watch?v=gIjj6GPcIq8 Perhaps its just breaking the forth wall, not exactly what you're after - but reading up on it could follow on to other references ...

Hello, I have some test footage here I am trying to gauge how easy the accents are to understand by people from around the globe - here in New Zealand people are finding it hard to understand, but maybe an American, British etc... viewer would have a better (or worse) understanding ... I am trying to avoid subtitling as English is the first language of the people involved (Liberians), but it may become necessary. Firstly: http://vimeo.com/4390160 - some people cannot understand a word and: http://vimeo.com/4272669 - after the wind noise is gone isn't too hard (?) I have intentionally hidden the person talking with imagery so visual cues cannot be used to aid understanding as this will likely be the case in the final presentation. Any feedback appreciated !

I'm taking the original 1920 clip that is recognized by FCP as 1920 (the one in the original sequence) and exporting that in quicktime to a clone of itself - choosing 1920x1080 results in a file that QT tells me is 1920x1080 - funny that huh :rolleyes: but read on ... exporting as 1920x1080 '16:9' gives me a file that is 1888x1062 (eh ???) Both of these new files turn up as 1440 in FCP The original file turns up as 1920 in FCP its as if anything exported via QT from the last 24hrs or so becomes 1440 in FCP - what has changed ?

Yeh, I've got heaps of it - anther beer fridge filled with the stuff ;) Um, no scanner here sorry - just the black has worn off a little revealing the metal within - its still smooth to the touch, I don't use it for my super16 Bolexes tho

Yeh, should be sweet ;)