60D / 50mm - bikini model shoot
- Thread starter Cabrera
- Start date
Whats do you mean?
vision_filmz
Carbonite Member
Exactly... I would HATE to do this job...... /Sarcasm
bronxjragon
Well-known member
Slow motion at the beginning was really jittery, I assume it was 1080 24p? Maybe would've been better to shoot 720 60 fps. Some micro jitters but I'm not going to complain about the talent on screen : )
Yes I filmed everything 1080 24p ... How would you recommend using 720 / 60 in a 1080 24p timeline? Also just outta curiosity what would you slow 1080 24p down to.... I slowed the shots in the video above down to 48%
M. Gilden
Canon DSLR Moderator
The idea with filming at 60fps is to then play back at 24p like the rest of your footage, thereby giving a fluid slow motion effect without skipping any frames per second during playback. Slowing down 24fps in a 24fps timeline means you are holding onto a frame for longer than it should be, which can result in stuttering/jittery motion.
So is it as easy as bringing in a 60 fps 720 ( 29.97 ) into my 24p 1280 (23.98 ) project and putting the footage on the 23.93 timeline....?? or is there a process. Thanks!!
M. Gilden
Canon DSLR Moderator
No, most editors will try to adapt the footage to be same in real-time (meaning, it will skip frames in the 60p clip to make it move at real time in 24p). You have to tell the editor how to interpret the clip, and the methods to do that depend on which NLE you are using. But it really helps to understand all the details here, so stick with me for a moment.
First things first- 29.97 refers to the frame rate. NTSC broadcast is "roughtly 30fps", or 29.97 to be exact. When you are recording at what we call "60fps", you are actually recording at double NTSC (which I believe to be 59.94 to be exact, but we round up to 60). Saying you are recording at 60 fps followed by ( 29.97 ) does not seem to make any sense to me. If you are recording at 29.97, that's 30fps! Not sure if that was just a typo on your part, but I want to make sure we're on the same page here.
Now, the trick is how to interpret this footage on your timeline.
If your editor is set to 23.98 frames per second, then you want to interpret the 720/60fps (59.94) at 40% of its original speed (59.94 * 40% = 23.98). I do this a lot in Sony Vegas, and there it is done by clicking on the clip on the timeline, hitting properties, and telling it to play back at 0.4 times its original speed (there's a box for it). In Premiere you can use the time remap feature, and in Final Cut... well, do some googling, there's plenty of info out there explaining how to do it exactly. I'm not a huge fan of Final Cut, so I can't say for certain.
The point is, you want the final product to be playing at the same fps consistently. Slowing down 24p footage on a 24p timeline will result in jitters, so you want to record at higher than 24p, then slow it down. Heck, even recording at 29.97 and slowing it down to 23.97 will give you roughly 20% slow down smoothly, all without having to skip, double, or blend any frames during playback.
M. Gilden
Canon DSLR Moderator
Yes, exactly.
The problem with overcranking is that you have to anticipate which shots to do in slow motion before hand. You don't want to film everything in 60p since conforming it to a 24p timeline to play at normal speed would not look so smooth either. Also, you then have to deal with the increased probability of aliasing and moire when recording at 720 resolution.
Another option to experiment with if you find yourself needing to slow down 24p footage is software created tween frames.
Adobe's After Effects has a function called pixel motion which can smooth out jittery video motion by analyzing the movement in the frames, and creating fake computer-generated "in betweens". The result is a constant frame rate without deleting/doubling any frames, so you are guaranteed smooth motion. Problem is it can start to look very weird and fake (things moving in the wrong direction, etc) if used too much. Twixtor is another (better) example of this, and actually has a much more accurate algorithm to create the morphed in between frames, but you still have to be careful using it. I've seen some really interesting Twixtor creations that ended up looking totally fake and CG-ish.
Either way, good luck and let us know if you have any other questions!
M. Gilden
Canon DSLR Moderator
Yes, you've mentioned this in other threads. To each their own. I've done it in controlled environments successfully, and there are plenty of examples on this forum proving its worth.
M. Gilden
Canon DSLR Moderator
I would like to hear your recommendation I'm open to experiment.Thanks fellas!!
Watch out for what the models wear. Make them bring several oufits in case some have stripes/small patterns in them that will cause the image to wig out in 720. The only real solution is to avoid these types of patterns. For me I have a guy wearing a suit and untill I can afford to switch to a GH2 or af100 I make him take off the suit coat.
So to be extra safe, have the models take off their bikinis and shoot them without.
So to be extra safe, have the models take off their bikinis and shoot them without.
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