ydgmdlu
Veteran
I understand now.Ha I guess not. I understand the big deal with 24p. When I shoot a cinematic piece with actors I usually use 24p. But I like to shoot documentary/verite style so I usually use 30p so it feels more real.
Please take a look at this short that I recently finished: http://exposureroom.com/summerlove (password is twinpeaks)Thanks for the lighting tips. The film goes through an entire day so we need all hours of lighting. And I guess some days start sunny and end a little cloudy which would be fine.
Every scene in the movie takes places in a different time of day: dawn, sunrise, morning, noon, afternoon, sunset, dusk, and night. It was shot mostly in two days. Like I said, you just need to plan your shoot properly.
The only filters that you need are a polarizer and a set of neutral density. If you get two linear polarizers, or a linear polarizer and a circular polarizer, then you can make a variable neutral density filter, eliminating the need for a set.Would you suggest getting a basic filter kit? I don't have one yet. Thanks!
Why would it be a bad idea? I don't know of any filmmaker who prefers 4:3 over 16:9 in general these days. Some filmmakers even prefer 2.35:1. Widescreen is an obsession and a deal-breaker.Also, I was thinking of shooting 16x9 any reason why this is a bad idea?
The camera only shoots 16:9 anyway. Please do more reading about the camera to get basic information such as this so that you won't need to ask us about it.