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Published by: Dalton Davis
Biography: Photography, fitness, music, personal growth, marketing, retail, outdoors.
- USA
- Directors: Stella Meghie
- Star: Teyonah Parris
- Genre: Romance
- Score: 1264 Votes
- 6,7 of 10 star
One smile can start a friendship One word can stop a fight One look can save a relationship One hug can spark a hope One touch can bring a warmth One whisper can bring assurance One decision can stop a war One cooperation can bring abundance One kiss can bring a kindness One sleep can bring rest One wake can bring happiness One solution can stop the tests If we only learn to smile to a stranger, to stop the fight, to start a relationship, to spark a hope, to embrace with warmth, to speak assurances, to end the war, to give abundance, to pass forward kindness, to allow rest, to share happiness, then maybe we can pass God's test! Have a beautiful day to all.
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The photographer 2020. Lakeith Stanfield is so sexy 😍 Love him. The photograph trailer soundtrack. This kind of love we need to look for in life. Martinj68 • Regular Member Posts: 126 any phones that shoot video in 25 or 50 fps mode? Mar 28, 2015 Will we ever see phone video cameras made to shoot in 25p 50i or 50p modes? So far ALL phones ( as far as i know) only seem to shoot in 30 or 60p modes, this is useless if in a PAL country where camcorders are designed to shoot in 25- 50p modes. I went on vacation with my Sony camcorder to shoot my main holiday footage at 50p, but was reluctant to use my Galaxy S5 phone video camera as it shoots in 60p, and the two formats cant be mixed together in post production without frame drops and jerks in the final video. So are there or will there be any phones that can shoot in 50p modes? defcomk Posts: 214 Re: any phones that shoot video in 25 or 50 fps mode? In reply to martinj68 So are there or will there be any phones that can shoot in 50p modes? most phones should be able to record at 25fps AFAIK the note 3 is capable of shooting from 7 fps to 60 fps. I have not tried but its possible to do it on the lg g2 g3 OP In reply to defcomk defcomk wrote: I went on vacation with my Sony camcorder to shoot my main holiday footage at 50p, but was reluctant to use my Galaxy S5 phone video camera as it shoots in 60p, and the two formats cant be mixed together in post production without frame drops and jerks in the final video. most phones should be able to record at 25fps AFAIK the note 3 is capable of shooting from 7 fps to 60 fps. I have not tried but its possible to do it on the lg g2 g3 What's AFAIK stand for? I have just checked the specs of the LG G2 and G3, and both only mention 30fps for video. I have the Galaxy S5 and there is no way of shooting at 25 or 50 fps, even with a 3rd party camcorder app that allows for selecting frame rates, i get errors when choosing anything other than 30 or 60fps CHLUETHR New Member Posts: 1 Jul 20, 2017 Have a try with the Cinema FV-5 android app. It not only allows you to select the 25P frame-rate but it is also possible to control most of the camera settings manually. This is a good alternative to a dedicated video-camera - it is always available in your pocket. But don't expect you can ever replace a real professional camera. The optical and operational (direct button assings etc) limitations remain as with any other mobile app. Jul 22, 2017 One option I know: Filmic Pro with Iphone 7 allows to select 25 or 50 fps, as well as 24, 30, 48 & 60 fps. It works well without any issue In reply to CHLUETHR Ive got myself a galaxy S8 and Cinema FV-5 seems to work in shooting at 1080 @ 25p but it does not incluse UHD 4k, or does it? I can't find a 4k option in the app. Are there any 4k 25p alternatives about? I don't know about the Galaxy, but Fimic Pro on Iphone 7 does 4K @ 25fps (also 24 & 30 fps) bigley Ling Veteran Member Posts: 4, 490 Jul 24, 2017 For the iPhone there are quite a few 3rd party video recording apps that allow for variety settings like 50p, 25p and even 24p. The app I have tried that works well is probably movie. 8 months ago I also have a Huawei P30 pro and so far no luck with Filmic Pro and Open Camera. They both allow only 30 /60 /120. No 24, no 25, markyboy81 Posts: 3, 166 Proshot on Android allows 25fps @4k Sony RX100 IV Samsung NX1 Samsung NX3000 Samsung NX500 Samsung NX1000 +10 more brousseb Posts: 189 Filmic Pro (at least on an iPhone) will let you set the framerate to any value you like. Panasonic ZS100 Panasonic LX10 In reply to brousseb 4 months ago The trouble with using 3rd party apps is that the phone is not optimised as it is with the stock app. I have heard that multi rear cameras default to just the main shooter, I. S. Does not work as good, photo option not included, so you have to switch between 2 apps, and quick launch doesn't work, also a lot of modes are manual with no auto setting. So it's really the stock camera app which is optimised for the phone that should be used, but with no 25fps video it's a non standard format in pal countries which seems to be three quarters of the world I often see smartphone footage used on news programs in the UK and I notice a terrible judder. If we had been offered 25p or 50p then the video would have been smooth, but don't get me started on seeing vertical video on tv🙄😡 Pstmstr Contributing Member Posts: 688 martinj68 wrote: Your original post was in 2015, are you still using an S5? Maybe time to modernize your equipment. As others have mentioned, Filmic Pro is a great app for video in both iOS and Android. Sony RX10 IV Olympus E-M1 II Olympus 12-100mm F4. 0 Olympus 9mm F8 Fish-Eye Body Cap Lens Olympus Digital 45mm F1. 8 +3 more In reply to Pstmstr 2 months ago Pstmstr wrote: Im actuarlly using a Galaxy S8, I wanted to change to S10 but find it pointless now because the S10 is also only made for NTSC countries and to top it all, they have even removed pro mode in video, so now its impossible to ajust the shutter speed to 1/50 or 1/100 to eliminate 50hz light flicker which about 3/4 or the world uses 50Hz electricity and they just happen to also have a 50Hz tv standard! As I said 3rd party apps can shoot 25fps but the apps are not optimized for the particular camera. Now for my next question... why does no one agree with me and is defending 30p video? If you bought a camcorder in Europe youd naturally get a PAL version, or one that is switchable between ntsc and pal, and youd switch it to pal mode, because you live in a pal region. so why are we forced to shoot video in a ntsc frame rate in a 50Hz region only 1/4 of the world has as their tv standard as 30fps the rest of us, about 3/4 of the world have 25fps tv. Now Sony even rub it in by selling their NTSC Xperia1 phone in the uk with their pro cinema mode allowing 24p and wait for 30p but 29. 9p!!! isnt 29. 9 a one hundred percent copy of NTSC? Yet theres no PAL option on this phone being sold in the UK!!! I just dont get it. You're absolutely right. I don't get it either. I'm sure it wouldn't take much work just to have a PAL option. I use a Samsung NX 1/500 as well as a Sony rx100 and all these cameras offer the ability to shoot in 25fps or 50fps. I've only just realised that video mode on my note 9 doesn't allow manual controls anymore. What were Samsung thinking? They took away the record icon from the photo screen and made a separate mode for video. Genius! What also annoys me is that most mobile video editing apps don't export in 25p either - one example is cyberlink power director. So footage I shoot in 25p I have to export to 30fps... There maybe hope yet to come. I have just noticed that the new Sony Xperia1 mk2 offers 4k video shooting at 25p!!!! about time, if your in a 50hz country (3/4 of the world) then you should appreciate this video shooting mode. No more flickering street lights, no jerky conversion editing, just smooth video, perfect for broadcast users too. So if Sony now offer this, hopefully others will too soon, would love to have seen it on Samsung S20 range. Just a shame the xperia 1 mk2 doesnt offer 50p video. 1 month ago There maybe hope yet to come. No more flickering street lights, no jerky conversion editing, just smooth video, perfect for broadcast users too. So if Sony now offer this, hopefully others will too soon, would love to have seen it on Samsung S20 range. Just a shame the xperia 1 mk2 doesnt offer 50p video. It's surprising that it's not an option. There can't be any technical reason for this as my Samsung NX cameras and my Sony RX100 all offer this option. What's also annoying is that cyberlink have a great video editing app where you have loads of functions and the ability to export to 4k yet guess what? It's only 30fps... haroldson5 Forum Member Posts: 50 The native camera app has never allowed you to set frame rate (be it 24, 25, 30, etc) AND shutter speed. THAT is the big issue and why 3rd part apps are so much better for video. 180 shutter rule. I have a samsung note 9. Samsung is the f*&%*$# WORST when it comes to allowing 3rd party app use (no frame rates above 30fps on snapdragon processors in 3rd party apps), but setting to 25 fps on filmic, open camera, moment, etc, is possible. I don't know what "optimisation" you are looking for but shooting log with a 180 degree shutter is going to produce better results with a little work in post than the native app every time. Jostian Posts: 3, 871 Pierluca72 wrote: Try filmic Pro as mentioned by others, I dont do a lot of video but from what I hear its the gold standard' video app for Android. Fujifilm X100F Fujifilm X-H1 Fujifilm 16-55mm F2. 8R LM WR Fujifilm XF 100-400mm F4. 5-5. 6 OIS WR 808 +6 more With a fast lens, GPS and useful tracking features, and Raw support, Olympus's flagship rugged compact continues to be the best waterproof camera on the market. While improvements like HyperSmooth 2. 0 stabilization are truly impressive, the latest GoPro generation really only offers incremental upgrades – and that's looking like a trend we can count on in the foreseeable future. The Lume Cube 2. 0 is much improved on its predecessor, but we do have concerns about its smartphone app. It's also pretty pricey among its competitors, but its feature set and quality of light may win you over. Find out more in our full review. The X-T4 brings image stabilization and a larger battery to the X-T series, but dig a bit deeper and you'll find a host of improvements and tweaks. See what we've discovered in the X-T3's sister model. Nikon's combined the best of its DSLR and mirrorless cameras into one tough-built body, equally well-suited for stills as it is for video. For effectively modernizing one of the brand's all-star camera lines, it receives our silver award. Whether you've grown tired of what came with your DSLR, or want to start photographing different subjects, a new lens is probably in order. We've selected our favorite lenses for Canon DSLRs in several categories to make your decisions easier. The fixed lens camera market may be a bit niche, but it's here that you'll find some of the best cameras you can buy. Sensors ranging from APS-C to full-frame are designed to match their lenses, which cover ranges from 28-75mm equivalent, so image quality is top-notch. Although a lot of people only upload images to Instagram from their smartphones, the app is much more than just a mobile photography platform. In this guide we've chosen a selection of cameras that make it easy to shoot compelling lifestyle images, ideal for sharing on social media. Whether you make a living out of taking professional portraits, or are the weekend warrior who knows their way around flashes and reflectors, you'll want a camera with high resolution, exceptional autofocus and a good selection of portrait prime lenses. Click through to see our picks. Family moments are precious and sometimes you want to capture that time spent with friends or loved-ones in better quality than your phone can manage. We've selected a group of cameras that are easy to keep with you, and that can adapt to take photos wherever and whenever something memorable happens.
I cried so hard at this movie that by the end my eyes were raw and swollen. In motion picture technology—either film or video — high frame rate ( HFR) refers to higher frame rates than typical prior practice. The frame rate for motion picture film cameras was typically 24 frames per second (fps) with multiple flashes on each frame during projection to prevent flicker. Analog television and video employed interlacing where only half of the image (known as a video field) was recorded and played back/refreshed at once but at twice the rate of what would be allowed for progressive video of the same bandwidth, resulting in smoother playback, as opposed to progressive video which is more similar to how celluloid works. The field rate of analog television and video systems was typically 50 or 60 fields per second. Usage of frame rates higher than 24 FPS for feature motion pictures and higher than 30 FPS for other applications are emerging trends in the recent past. History of frame rates in cinema [ edit] In early cinema history, there was no standard frame rate established. Thomas Edison 's early films were shot at 40 fps, while the Lumière Brothers used 16 fps. This had to do with a combination of the use of a hand crank rather than a motor, which created variable frame rates because of the inconsistency of the cranking of the film through the camera. After the introduction of synch sound recording, 24 fps became the industry standard frame rate for capture and projection of motion pictures. [1] 24 fps was chosen because it was the minimum frame rate that would produce adequate sound quality. This was done because film was expensive, and using the lowest possible frame rate would use the least amount of film. [2] A few film formats have experimented with frame rates higher than the 24 fps standard. The original 3-strip Cinerama features of the 1950s ran at 26 fps. [3] The first two Todd-AO 70mm features, Oklahoma! (1955) and Around the World in 80 Days (1956) were shot and projected at 30 fps. [4] Douglas Trumbull's 70mm Showscan film format operated at 60 fps. [5] The IMAX HD (high definition in this case meaning high definition film stock, as 70mm IMAX is the highest resolution motion picture image in the world) film Momentum, presented at Seville Expo '92, was shot and projected at 48 fps. [6] IMAX HD has also been used in film-based theme park attractions, including Disney's Soarin' Over California. [7] The proposed Maxivision 48 format ran 35mm film at 48 fps, but was never commercially deployed. [8] Digital Cinema Initiatives has published a document outlining recommended practice for high frame rate digital cinema. [9] This document outlines the frame rates and resolutions that can be used in high frame rate digital theatrical presentations with currently available equipment. Usage in the film industry [ edit] Peter Jackson 's The Hobbit film series, beginning with The Hobbit: An Unexpected Journey in December 2012, used a shooting and projection frame rate of 48 frames per second, becoming the first feature film with a wide release to do so. [10] Its 2013 sequel, The Hobbit: The Desolation of Smaug and 2014 sequel, The Hobbit: The Battle of the Five Armies, followed suit. All films also have versions which are converted and projected at 24 fps. In 2016, Ang Lee released Billy Lynn's Long Halftime Walk. Unlike The Hobbit trilogy, which used 48 frames per second, the picture shot and projected selected scenes in 120 frames per second, which is five times faster than the 24 frames per second standard used in Hollywood. [11] Lee's 2019 Gemini Man was also shot and distributed in 120 frames per second. [12] RocketJump's Video Game High School was the first web series to use HFR, and the first content shot and edited in a mixed frame rate. [13] The series, which follows the lives of high school students in a world where gamers are revered as pro-athletes, adopted HFR in its second season, using the standard 24 frames per second for real world interactions, and 48 frames per second for "in-game" action sequences. Although the content is available on YouTube and Netflix, it can only be viewed in mixed frame rate using a special player on RocketJump's website. Other filmmakers who intend to use the high frame rate format include James Cameron in his Avatar sequels [14] and Andy Serkis in his adaptation of George Orwell 's Animal Farm. [15] Out of the cinema [ edit] Frame rates higher than 24 FPS are quite common in TV drama and in-game cinematics. Some media players are capable of showing HFR content and almost all computers and smart devices can handle this format as well. In recent years some televisions have the ability to take normal 24 fps videos and "convert" them to HFR content by interpolating the motion of the picture, effectively creating new computer generated frames between each two key frames and running them at higher refresh rate. Some computer programs allow for that as well but with higher precision and better quality as the computing power of the PC has grown. Motion interpolation may cause some artifacts, as a result of the computer "guessing" the frames wrong. [ citation needed] Video file recording methods [ edit] Usually, cameras (including those in mobile phones) historically had two ways of encoding high framerate (or slow motion) video into the video file: The real-time method and the menial method.. See also [ edit] High-motion Motion interpolation References [ edit] ^ "Silent Films: What Was the Right Speed? ". Archived from the original on July 8, 2011. Retrieved 2013-11-04. ^ "The history of frame rates; why speeds vary | Vanilla Video".. Retrieved 2017-04-19. ^ "The Cinerama Wing". Widescreen Museum. Retrieved 2013-11-04. ^ "The Todd-AO / 70mm Wing 1". Retrieved 2013-11-04. ^ "Showscan: The Best 70mm I have ever seen". 2011-06-26. Retrieved 2013-11-04. ^ St-Pierre, Marc (July 23, 2010). "The NFB and World Fairs, pt. 4: Seville and Expo 92". Blog. National Film Board of Canada. Retrieved June 12, 2012. ^ "IMAX Corporation – Company History".. Retrieved 2010-07-03. ^ Ebert, Roger (2013-10-30). "After 3D, here is the future of film | Roger Ebert's Journal | Roger Ebert". Archived from the original on 2013-04-06. Retrieved 2013-11-04. ^ "High Frame Rates Digital Cinema Recommended Practice".. Retrieved 2013-11-04. ^ Carolyn Giardina (November 7, 2012). "Showeast 2012: Major Exhibitors Sign for High Frame-Rate 'Hobbit' Despite Format Challenges". The Hollywood Reporter. Retrieved November 8, 2012. ^ Adam Chitwood (March 7, 2016). "Ang Lee to Unveil 'Billy Lynn's Long Halftime Walk' in 120 Frames-Per-Second 4K 3D". Collider. Retrieved January 19, 2019. ^ Boxoffice Staff (October 3, 2019). "Gemini Man to Premiere in 120 fps High Frame Rate at TCL Chinese Theatre". boxofficepro. Retrieved October 12, 2019. ^ David Liberman (May 30, 2013). " ' Video Game High School 2′ Will Be First Online Production Using High Frame Rate". Deadline Hollywood. Retrieved February 1, 2014. ^ Carolyn Giardina (March 30, 2011). "James Cameron 'Fully Intends' to Make 'Avatar 2 and 3' at Higher Frame Rates". Retrieved November 8, 2012. ^ Carolyn Giardina (October 19, 2012). "Andy Serkis to Direct Adaptation of 'Animal Farm ' ". Retrieved November 8, 2012.
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The photograph movie 2020. The Epicness of this Living Legend. The photograph movie in los angeles. The most wonderful of music. No one is mentioning how lovely the soundtrack of this movie is! Gives me the feels. The photographer of mauthausen movie. This song really makes you think about life and love 🖤🖤🖤💖💖. The photograph movie soundtrack. The photograph cast 2020. The photograph showtimes. The photographer of mauthausen 2018. The photograph interview. Je suis la seule à avoir remarqué que c'était Émilia Clarke alias Daenerys de GOT.
The photography blogger. The photographer's ephemeris. Well this trailer spoiled everything! 😉. The leading man is such a good actor I stan 😫. The photograph abdu'l baha. I don't need to watch the movie. That was a long damn trailer. Almost like a full episode of something... The photograph karaoke. The photography show. At last his dad ( may be ) told that you ar at the top of the mountain and ya he is now. The photograph poem. I feel like this gonna be up there with Love Jones and Love & Basketball. The photograph as contemporary art. The photograph trailer song. The photographe.
Thank you so much. It's really nice music make me fully relaxed and nice dream. YOUR RECENTLY VIEWED ITEMS Browsing History Choosing the Right TV TVs are the quintessential entertainment device; no home theater system is truly complete without one. The modern LED TVs of today come with so many features and in such a wide range of sizes, that you now have much more flexibility when choosing the right fit for your home. How Do I Choose the Right Television Screen Size? "The bigger, the better" is the usual thought when it comes to TV screen size. As a general rule, the right LED TV should be large enough to fill your field of view for an immersive viewing experience, but not too close that you end up straining your eyes. An easy way to identify the ideal size is to choose a TV with a screen size that's at least a third the viewing distance (in inches). For instance, 40-inch TVs work well in rooms where the viewing distance is between 5. 5 and 10 feet, and 50-inch LED TVs have an optimal viewing range of 6 to 10. 5 feet. Larger 55-inch TVs are a suitable pick if the viewing distance is between 7 and 12. 5 feet, while LED TVs measuring 60 inches and above work best with a viewing distance of 8 to 15 feet. Should I Choose an HD or Ultra HD TV? Ultra HD TVs (UHD TVs) are a lot more popular because they offer improved picture quality. Full HD TVs support roughly 2 million pixels (the tiny picture dots that make up a picture). Ultra HD TVs, on the other hand, contain over 8 million pixels, or four times as many as HD TVs. This means that pictures appear more vibrant and lifelike, especially when you're viewing 4K content or watching a video with your Blu-ray player. That said, the difference between UHD TVs and HD TVs is more defined with larger screen sizes, typically 60 inches and above. If you plan to buy a 40-inch TV or an LED TV with a smaller screen size, an LED HD TV is a good choice. However, if you want the best picture results for the large TV in the living room, UHD TVs or 4K TVs are definitely the way to go. Key Features of an LED TV Beyond the size and picture quality, one of the main features to consider when choosing a TV is its ports. The type of ports on a TV will affect the types and number of devices you can connect. For instance, some LED TVs come with multiple HDMI ports so you can connect a Blu-Ray player and gaming console at the same time. Other HD smart TVs may include USB ports for hard drives or storage devices. You'll also find smart LED TVs with built-in streaming support, which can complement media streaming devices. Start your search for your next TV at B&H Photo and Video, which has a wide collection of LED HD smart TVs as well as TV accessories, home entertainment speakers, and media devices.
The photograph review. In this movie, Rose needs to die. Justice for Jack must be served😌. The photography shoppe. The photograph 2020. The photograph lyrics. The photograph reviews. I love this music it helps me sleep at night since I suffer anxiety and it helps me sleep better at night and calms me down and makes me forget about my anxiety. Thank you for such amazing music. Good job, Still Corners. Thus far, in this series on making that transition from photography to video I have offered an overview on what to expect beyond the tools and knowledge one has gained as a photographer. The first installment focused on the gear and anticipated accessories. The second focused on the recording of audio. In this article, I felt it was important to explain the differences between shooting for motion as opposed to still, since videography – filmmaking, if you will – requires a changeof mindset when it comes to setting aperture and exposure especially while dealing with the added element of frame rate. It’s not really all that tricky. It’s actually an easy adjustment to make. But before we get into the how, I need to address the why. And this requires a bit of a history walk-through when it comes to the development of motion picture technology. When the Lumiére brothers premiered “Arrival of a Train”back in 1896, it elicited the kind of “oh wow” reaction one would get from virtual reality or a 4K UHDTV today. It blew the minds of pre-20th century audiences. While this represented the first attempt to project a motion visual onto a screen, the practice of creating the illusion of moving images had already existed within the confines of flip books and zoetropes. It wasn’t until 1878 when photographer Eadweard Muybridge photographed a series of sequential images featuring a running horse that the idea of applying movement to a series of still photographs finally came into play. As both the movie camera and the film projector continued its development into the earlier part of the 20th century, so did the frame rate. The frame rate refers to the frequency with which sequential images are either recorded through a camera or projected onto a screen per second. Because cameras were hand cranked right up to the late 1920s, the frame rate could vary from 12 fps to sometimes 26 fps. However, with the arrival of sound a standard had to be set so as to consistently match the audio to the visual. Hence, the 24 fpsmodel remains the standard to this day. As mentioned in the first installment of this series, 24 fps is the reason why film looks like “film” as opposed to video or a live broadcast. An increase in fps results in a sharper image and less motion blur. In fact, film technology experts have warned against projecting anything faster than 72 fps because the human mind cannot process that much information. An “uncanny valley” response would go into effect – the image would look too realistic to the point where mere mortals couldn’t handle it. The key word in the above paragraph is “projecting, ” by the way. For it is one thing to project or transmit a visual at anything faster than 60 fps, it can be a slightly unrelated thing to shoot higher than 30 fps. With analog cameras, to shoot at a frame of 60 or higher would result in slow motion whereas to shoot in less than 24 would result in fast motion (hence the sped up feel of silent movies as the majority were shot at approximately 16 fps). Let me try to simplify this so you understand the relationship between the projection/transmission of a visual and the actual shooting thereof: 1) If you shoot at 48 fps or higher with the intention of projecting or transmitting that visual at 24 fpsor less, then your image will appear in slow motion. 2) If you shoot at 48 fps or higher with the intention of projecting or transmitting that visual at the comparable frame rate (a48fps visual projected/transmitted at 48fps) then it will not appear in slow motion but will be sharper in clarity due to the increased loss of motion blur. Ergo, remember all that hype surrounding the HFR technology developed for the “Hobbit”series of movies directed by Peter Jackson? HFR meaning “High Frame Rate” aka 48 fps? To view that footage as Jackson intended would require a projector – digital or analog – that could transmit said footage at the same frame rate as it was shot (this isn’t new technology, by the way. Special effects legend Douglas Trumbull developed a 72 fps system titled Showscan in the early 1980s. Appearently it was so sharp in its clarity it was almost like experiencing 3-D without the glasses). Most HDSLR cameras released within the past four to five years are capable of shooting at 24p, 30p, 60p, sometimes 120p (“P” is short for “progressive scan. ” The only difference between “fps” and “p” is that “p’ is applied to the digital recording of video while “fps” is generally applied to the shooting of analogue film. The digital version still approximates a “per second” standard). On some cameras you may come across an additional 50i or 60i frame rate. That “i” is short for “interlaced” which refers to the setting you’d use when recording for broadcast. But you’ll never have to worry about that unless you plan to shoot video that will be transmitted into a live feed. Even if you wanted to move into that direction, you’d most likely have to upgrade to an altogether different kind of camera anyway. A repost of the image I supplied with the first part of this series: the difference between progressive scan and interlaced technology. “Progressive” (left) involves creating the illusion of a moving image through the sequential appearance of still images. “Interlaced” (right) refers to moving images broadcast via a series of lines appearing back and forth across a monitor or screen. Like an old school television screen. So let’s stick with what you have: a DSLR that shoots 1080p HD. And let’s say you are about shoot some video and you choose to work with a 24p (or fps) frame rate because, well, you like that “film look. ” So where do you go from here? This is where the traditional mindset of still photographers differs from that of videographers. To achieve a certain look, the still photographer can adjust both the ISO, the aperture and shutter speed to however they want. Ideally, they would keep the ISO as low as possible to avoid that pesky grain or noise. Yet, should you be utilizing the appropriate lens, the more light you let into your camera by slowing down the shutter speed and increasing the aperture, the more blurry your image could potentially become. This will also depend on the focal length of your lens. In fact, shallow depth of field is traditionally accomplished by distancing yourself from a subject while just focusing on that subject. That’s not necessarily true when shooting video. Allow me to digress a bit. Only recently has one been able to apply f-stop, aperture and ISO to videography. Part of this is due to the quality of HD video made available to DSLRs like the first iteration of the Canon 5D. Although applying this process to videography existed within cine cams like the Arri Alexa and Red models, accessibility to this kind of thing wasprohibitively expensive for the budget minded cameraman. Also, the kind of technology required to capture video was not dependent on the mechanics of aperture, ISO, etc. This is because (up until very, very recently) video technology was not progressive but interlaced. This negated the use of terminology associated with DSLRs, SLRs or analog movie cameras at the time. For example, a videographer would not adjust exposure according to “F-stop” but to “gain. ” And shutter would be set by degrees as opposed to a percentage. So let’s get back to that mindset while shooting video. First: set your frame rate. We’re already using 24p as an example. Now set your shutter speed. The general rule of thumb when shooting for motion is that the shutter speed should be twice that of the frame rate. So if your frame rate is 24p, the shutter speed should be 1/48. I’ll explain why in a moment but I’d like to point out that not all DSLRs have that 1/48 option. Which is fine. Don’t worry. Most DSLRs do have a 1/50 option. That’s the next best thing. So go with that if you don’t have the other. And then adjust aperture and ISO accordingly. Most DSLRs do not offer a 1/48 option. One of the rare exceptions is Panasonic’s Lumix DMC-GH4 (right). Most cameras like the Canon D Mark III (left) allow you to set the shutter speed at 1/50 which is a close enough approximation. Should you be using a very fast lens, the wider the aperture, the greater the potential there is for shallow depth of field. This depends on how bright your lighting is and the setting of your ISO speed, of course. But shutter speed should never change. Unless… And here is where we get into the relationship of frame rate and shutter speed, an elaboration promised in the first entry of this series. By keeping the shutter speed at double the frame rate, you minimize the amount of blurring in the visual (should you go less than double) or avoid a look that would come off as sped up or “flickery” (by tripling the shutter or more). That’s not to say an interesting effect could not come about by readjusting the shutter speed. For example, most of you have seen Danny Boyle’s horror classic “28 Days Later. ” You know that weird, almost sped up jittery look applied to whenever the rage virus antagonists appeared on the screen? That was most likely achieved by increasing the shutter speed beyond multiplying the frame rate times two (just for the record those misunderstood creatures were not “zombies” as they are not undead. They were virally infected humans. I thought it bears mentioning because, well, never mind). So there you have it. A dissertation on the history of the motion picture frame rate as it relates to shooting video today. Now that you are equipped with a certain amount of knowledge, I encourage you to go out and experiment with different settings, etc. When it comes to everything else, the same photography principles apply. For example, if it’s an incredibly bright day but you want to achieve a look that requires letting in more light without over exposing certain elements then you would use an ND filter just as you do in still photography (whether you want to capture more detail in the sky or, again, go for that shallow depth of field). Try playing around with different lenses as well. Next item in the series: shooting for post production. While you may never have to edit the footage you shoot for whatever professional reasons, you will have to be cognizant of how that footage and the way you shoot it can impact both the workflow and creative approach to video editing. Eric Cohen has a varied background having worked in Film, Theater and the image licensing industry. He contributes to the pop culture website as both a writer and content creator and produces and co-hosts the irreverent YouTube film discussion show The CineFiles as well as its ongoing podcast. He has also been a freelance videographer, editor and motion graphics designer for six years.
I will always, honestly, truly love this song. There's definitely some personality disorder going on there. Amazing. Hope you guys can come back to Dallas TX again some time. So he's more than just Terminator, he's Wolverine with the strength of Captain America. Very cool. Wtf this trailer is the longest Spoiler I've ever watched. The photographer. The photograph tvspot.
The Photograph
8.2 out of
10 stars -
961 votes
directed by - Gavin Rothery Sci-Fi Writed by - Gavin Rothery
Archive movie 2020.
/ countries UK / Release year 2001 / J.K. Rowling / duration 2Hour 32minute
