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Found 14 results

  1. Recently I've been having an odd specific problem with my AATON XTR Plus. For some reason lately I lose 24FPS crystal sync and my camera will periodically drop to 20FPS. It happens erratically with no clear reason. I've caught the issue in the eyepiece, cut and re roll then the LCD will go back to displaying 24FPS It's happened in a variety of situations, using both voltage regulated gold mount adapters and the original 12v AATON batts. I'm fairly convinced it is not a power issue. The FPS speed dial on the camera is locked firmly at 24. Has anyone had this issue with their AATON? Here's a video showing the issue. https://www.youtube.com/watch?v=Q16IpTVHACo Any advice or opinions would be greatly appreciated Thanks
  2. Hi everyone, I was on a shoot the other day and the Alexa Mini, was set up to record 24fps, however the project settings were left at 25fps. The director is Keane tokeep the music video at 24 fps to match play back and the time code. We also shot some slow mo at 36fps that he would like to keep to sync up. Im wondering if there was any way to get the footage back to 24fps? Any help would be greatly appreciated.
  3. Can anyone explain the advantages and disadvantages of shooting in 50i vs 25p. I have a C100 which offers both and am trying to get the best footage out of the camera, and need some advice. Regards Gabe
  4. As always thank to anyone in advance who reads this and your generosity with sharing your opinions and experience. I am in the process of prepping for a particular shoot, one of which that I do not have any experience in the type of shooting, although I'm eager to learn. Basically, the job requires me to 1 shot of a small rodent being shipped in from abroad on a closed set in a studio. We are to film it inside a box with 30cm width and 100cm length; interior walls fully blacked out, and the box is filled with sand and a few elements of grass. In this box it will be able to move around freely and jump (the rodent can jump 12cm on each leap). I need to have a hole in the box for the lens. They need this to be captured in as high a frame rate as possible, however we are still concerned with subjecting the rodent to too much light which could potentially harm it. After speaking with the animal handler, he has told me the light the rodents are used to would be just a bit brighter than sunset, which is not great. This means 240 FPS is more than likely not an option but I would prefer not to go below 120 FPS (96 FPS is the minimum for sure). The shutter speed will have to be higher than the average for this also as the rodent I suspect moves and jumps quite fast. To add to this I will need a high F stop to capture the rodent in sharp focus to limit any soft shots (I am trying to get a focus puller on this job if budget will allow). So putting all these factors together it does seem I'm going to need to light this quite brightly , and if the animal care provider does not agree on the lux levels of the light I will have to sacrifice the F-Stop sharpness a but along with reducing the high frame rate. Now a few questions for anyone who may have some experience with filming animals in a studio in tight areas or in small mammal camera boxes: What lens/lenses would you suggest for capturing this creature? The client has requested they only need 1 shot, but I'm thinking if budget allows having a wider lens to capture the interior of the box and the rodent in a full shot, and then secondly a macro lens to hopefully capture an extreme close up as it jumps in mid air - poking the lens through the same hole just changing the lens (I'm thinking perhaps 2x Arri Master Primes as they are the sharpest lenses I have worked with before - suggestions are welcome on brand and especially suggestions on focal length? Its difficult to know this just going off a the 30cm width and 100cm length; I will only have access to the box the day before so will try to arrange a test even if its on my small Black Magic camera. Also any tips on if I should be thinking of using extenders or macroscopic lens adaptors for macro shots, or if I should indeed be looking mainly at macro lenses for this What cameras are recommendable? I personally am looking at the Red Helium as it has the option to record 2K in 240 FPS max and various other below frame rates, or the Arri Alexa Mini at 200FPS in 2K Pro Res. I originally actually thought of the Red Gemini as my research shows it performs best in low light situations, however this camera is not an option from my preferred rental house. Lighting: How can I light the rodent in the box? In my head there is 3 options - 1. Top of box is a netted material which will keep the rodent in and allow my light to shine through above it (any suggestions on material welcome) - 2. small LED's stuck to the interior top of the box - 3. A hole again through the box with a light shining though (although this means my lighting shape and direction can not change so quite limiting. ------ My first thought is to use an Arri M8 or M18 as the main light with a 45 degree back angle; Also putting in a small piece of white cloth on the interior of the box to get some light bounce back to fill in the front. (I'm lighting to make it look like a real sunlit setting). The M18 I will spot 50%. From my calculations 120 FPS at ISO 1200 with a shutter angle of 90 degrees at 50% spot would allow me to bring the F-Stop to 11 at a distance of roughly 5 metres. Now 5 metres for an M18 to the rodent may actually be to intense for the animal so an M8 may be more sufficient. Going by Arri's photometrics the majority of their lights are recommended to be kept at a safe distance of at least 5 metres but I assume that is not intended to mean for rodent size. Would be interested to hear if anyone has a solution for this in terms of using a different light or managing to put the light through the hole but at distance without leaving a gap in the box. I have to make sure the rodent is not affected by the heat or burned so I have been thinking going LED if I could get enough light in there for my frame rate. Any need for a Focus Puller? Normally I would of course want this crew member on board, but the budget is so tight right now and the nature of the shoot makes me wonder if their services would be void when regarding the speed and uncertainty if the animal. F11 should keep this sharp in my opinion, but again not doing this shoot kind of shoot would appreciate your opinions. I have attached 2 reference pictures of for the shoot. It is screenshots of the same type of shoot filming a gerbil in a confined space. Notice the hot slash of light across the sand, that is pretty much what I am going for. I am also trying to get the same focal length if anyone has suggestions on what this could be. I will have some pictures soon of what the box will look like so I will share that too. Any experience or suggestions is seriously welcomed so please let me know your thoughts or any questions you might have. Thanks so much.
  5. As the title says: What is the optimal frame rate for a music video, shot in Europe, with an European band, in an 230V 50hz environment, but with a potential international release? 25? 24? 23,97? Which has the least problems when converting to different broadcast standards?
  6. Hi, looking for help on how the slower dream like look is achieved. I saw in Park Walbeck's video, , that he recorded the video at 30fps and then converted the clips to 24fps. Does anyone know if there is a way to do this in iMovie or perhaps in Final Cut Express? Would it look the same if I was to shoot at 30fps and then slow the clip down in iMovie? I just mostly take videos of our family vacations or birthday parties. If you use this technique for your videos, how have achieved it/what editing software was used? Thanks so much!!!
  7. Hello group, Working on a short film, shot on Super 16mm. Well I just have a humble converted K-3, so the frame rate is not exactly 'accurate'. Sound will all be added in post. But I wonder why all labs here in Europe have a default film scanning frame rate of 25 fps and in the US it is 24 fps. Especially since all cameras I know of meant for screening (as opposed to European TV) always have a frame rate of 24fps, including the old Super 8mm sound cameras. I know that 25fps comes from the old PAL television standard (50 fields per second, 25 frames - all movies shot at 24 fps ran slightly faster to be in sync with the TV standard). I would like to choose a frame rate which is the most compatible with HD 1080p. No planning on getting my humble movie projected theatrically, but I would like to have it as compatible as possible with existing (and if possible future) standards. Also: if I work at 25fps and it will be played back at 24fps or vice-versa (not sure about the digital tech details though), the sound will be altered. At the very least its speed and probably also the pitch, as was the case back in the analog days - which is bad especially for music. Any tune recorded at 24fps and played back at 25fps is almost a half step higher and the tempo is faster (I am a pro musician and I checked it many times). I would love to work at 24fps, simply because it's the cinema standard. My main concerns are compatibility and sound. The look of 24fps vs 25fps is virtually indistinguishable (IMHO) on modern screens and monitors. Any input, insight and tips highly appreciated. Thanks in advance, Christian
  8. Hello, I'm trying to find out the frame rate used during the slow motion shots of Moonwatcher striking the skull with the bone in the "Dawn of Man" sequence from 2001. It looks like it might be 120 fps, but I can't find a quote anywhere (checked the SK archives, the new Taschen book on 2001, and several biographies and studies). Does anybody know for sure, or perhaps has a more educated guess based on the cameras used during production? Thank you.
  9. Hi everyone! Im very excited to join the cinematography community here in order to learn and continue to advance my craft. With that said here is my very first question / post. I've noticed a handful of music videos that are shot in slow motion (my guess here is possibly 60fps?) and the performer is singing and yet the lips appear to be relatively in sync to the music. Now is this a case of simply shooting the performance like you normally would but just at a higher frame rate, or is there more to it that I'm missing ? Below are some examples the first one being the strongest. Example # 1 Example # 2 (most evident at 1:03, you can see the bus on the right moves slowly yet lips are in sync) Example # 3 (most evident at 0:49) Thanks everyone!
  10. Is anyone able to explain the difference between 50i and PF25 to me? I'm new to cinematography and can't seem to get my head around it
  11. Topic: Smoother HFR / frame interpolation / soap opera look. I just came back form watching Dracula Untold in a spanish cinema (specifically the Yelmo Cineplex Icaria movie theatre in Barcelona). The movie has pretty great visuals, but something felt wrong. It didn't have the cinematic feel I'm used to and love. After a few seconds I was sure the movie was played in 30fps or more. But after checking out imdb to find out that the film was shot on Kodak I am not so sure any more. The first time I came across this in cinema (other than of course The Hobbit) was watching A Million Ways to Die in the West (shot on Sony F55) in a Danish Cinema (Cinemaxx Copenhagen). The way this movie was projected definitely looked like 30fps or more, and felt cheap -- 20 minutes after A Million Ways to Die in the West had ended, we watched 22 Jump Street (shot on Alexa XT) -- and this movie had none of the high frame rate / frame interpolation feel. Same cinema. 22 Jump Street felt like a real movie. I can't seem to find out at what frame rate either Dracula Untold or A Million Ways to Die in the West was shot nor at which it was intended to be projected in Cinema -- But my real worry is this, Are some digital cinemas beginning to use frame interpolation to smooth out motion jitter etc. like popular consumer TVs? Note: The DVD version of A Million Ways to Die in the West feels right. I'm pretty sure there is some frame rate related gimmick going on. Any ideas or thoughts?
  12. I'm going to shoot a short film on 16 mm with an Arri SR3. We don't have so much money to buy ourselves enough film material. I am thinking about shooting on a lower frame rate like 18fps and print it later on postpro back to 25fps to save some material. The question is the look. Have you had any experience with that or do you know any film example or any test where they tried it? I would change the shutter angel to get the same expose as 1/50th of a second to get the same movement's feeling. the question is what exactly happens, what is the exact effect if I shoot 20fps, 18pfs or even 15pfs in 1/50th of a second and then print it back to 25fps?
  13. Hi guys, so I'm going to shoot a movie for university, and I want to use 25 fps, in order to give the famous "film-look" to the image... my problem is that in some shots I'd like to obtain a depth of field as shallow as possible. So here's my dilemma: they say when you're shooting in 25 fps, the maximum quality of image results in using 50 shutter speed (fps * 2); but if I use 50 shutter speed, then the aperture would be affected: and as you know, in order to obtain a shallow depth of field you should have the aperture all the way open, which in my case, with 50 shutter speed, could result sometime in having an overexposed image. My question is: if I got a good Neutral density filter, a better one than the camera already has, could I succeed in darken the image while using 50 sp and the aperture all the way open? Other tips and recommendations are very well accepted, thank you all for your time and effort in answering my question.
  14. I'll be using a strobe (flash) on an HD shoot. I've seen this in the past but it never seems to work well (strobe duration and shutter angle/shutter speed issues). Any ideas, tips or thoughts you can share with me?
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