C200: slo mo 120fps 23.976 vs. 59.94 frame rate

bigteethproductions

bigteethproductions

Well-known member
Hello,

I've been working with the c200 for a lot of brand film/corporate type of work and when we shoot b-roll we like to switch between the 120fps for great slo mo and sometimes to 4k 60p to get some slo mo and have the crop ability when needed. I'm shooting mp4 not raw lite as that is just overkill for most of what I'm creating.

My question is I noticed that we shot some stuff recently using the "slow" feature at 120 fps and when the frame rate is at 24p the slo mo looks like what I want but when the frame rate is at 60p it's not as slow and I think I can conform in premiere to 24p like I do with other footage.

So, I'm wondering if you have that 120 fps slo mo feature, why would you even allow it to have a frame rate that doesn't give you the same effect. Am I correct in this or am I doing something wrong? When using the 120 fps feature should I always make sure that the frame rate is at 24p?

I guess this just seems like Canon could have made this much easier with preset buttons to switch resolution AND frame rate at once and back.

thanks.
 
bigteethproductions said:
Hello,

I've been working with the c200 for a lot of brand film/corporate type of work and when we shoot b-roll we like to switch between the 120fps for great slo mo and sometimes to 4k 60p to get some slo mo and have the crop ability when needed. I'm shooting mp4 not raw lite as that is just overkill for most of what I'm creating.

My question is I noticed that we shot some stuff recently using the "slow" feature at 120 fps and when the frame rate is at 24p the slo mo looks like what I want but when the frame rate is at 60p it's not as slow and I think I can conform in premiere to 24p like I do with other footage.

So, I'm wondering if you have that 120 fps slo mo feature, why would you even allow it to have a frame rate that doesn't give you the same effect. Am I correct in this or am I doing something wrong? When using the 120 fps feature should I always make sure that the frame rate is at 24p?

I guess this just seems like Canon could have made this much easier with preset buttons to switch resolution AND frame rate at once and back.

thanks.
Click to expand...

I think you're just looking at it wrong. You're just used to playing back high frame rate material at a slow(er) frame rate. The base frame rates and over/under crank frame rates aren't tied together. It's up tot eh person to decide what they need and how to "pair them" to get what they need. Not everyone shoots 24 or shoots everything in 24. The "slow-mo" playback is based on the camera base frame rate, so if your base rate is 24 and you're shooting 120 then you'll get 5x slow-mo. If you're shooting 120 and your base rate is 60, it's only 2x. Just depends on what you need. Most live broadcast sports are 60fps and the slow-mo cameras are shooting at extremely high frame rates(leaves 120 fps cameras in the dust) for slow motion so that they can have good slow-mo at 60fps playback.
 
Thanks for the reply Run&Gun. I get what you're saying. I guess in my mind the whole point of going into the "slow" setting would be to get that slowest of slow motion - i.e. the 120 fps at 24 vs. 60. I shot a bunch of stuff that didn't come out quite as slow as I'd hoped so I learned my lesson. Do you know if I conform that footage in post to be 24p and put it on a 24p timeline (like I do with regular speed 60p footage I'm trying to slow down) should it come closer to the effect I'm trying to achieve without losing frames or getting jitters in the footage?
 
It's all about the numbers on both ends; in camera and in post.

You'll need a framerate of 300fps for a 60p project timeline to see what you're seeing at 120fps in a 24p project timeline. Most slow-motion options in cinema cameras are added in mind for a 24p workflow, maybe sometimes 30p. As R&G mentioned above, you'll need specific broadcast cameras for higher HFRs for a 60p workflow to capture the results you're seeing in a 24p workflow.

[You can also try slowing down footage that's already been conformed inside the camera, but results may vary.]
 
I guess I'm confused about how it is 120 fps and at the same time you have the 24/60 frame rate option. I also plan to use a 24p timeline not 60p so wondering if I slow that 60p footage down if it'll do the trick.

Ughhh - numbers. Not my strong suit.
 
I don't know if this helps and I'm honestly not really sure what you're asking, but here is some more information:

In the modern age of digital production and post-production technology, the most common and standard framerates that are offered to us (not including any interlaced information) are 24p, 30p and 60p. (In the NTSC world.)

So we are able to shoot 24, 30, and/or 60 frames per second inside of our cameras, and also edit in 24p, 30p, and/or 60p timelines.

Around this time about 25 or so years ago (I'm guessing), someone also created software to let us take footage we captured in 60 fps and conform it or slow it down to be used in a 24p or 30p timeline for instant slow-motion.

Fast-forward about a decade or so later and many manufacturers started to not only allow you to skip this process in post and conform or slow down the footage inside the camera, but they also started to include much higher framerates inside the camera.

The two most common ones are 120p and 240p. You can also choose a framerate between 0-240fps (or more) in some cameras, but let's skip that for now.

With these 120p and 240p framerates, you have to choose a project timeline inside the camera because no one in the world is actually editing 120p footage on a 120p timeline. Or 240p on a 240p timeline. (I don't even know if that's possible.)

So most cameras force you to choose a 24p, 30p or 60p timeline (one of the common ones mentioned above), and they automatically conform or slow down the 120p or 240p footage/framerate for you.

Now with 60p you don't have to choose a 24p or 30p project base/timeline in most cameras (or they don't even have this option) because you're able to edit in a 60p timeline in post. The only reason some cameras do allow you to choose a 24p/30p timeline for a 60p framerate is because it's generally a good idea that makes many people happy (saves time in post).

With 120p or 240p, you have no choice with most cameras. You have to choose a 24p, 30p or a 60p project base/timeline.

Here's a tip...it doesn't matter if you're slowing down the footage inside the camera or in post. The further the numbers are apart (framerate and project base/timeline), the slower the footage will look.

___

The cameras that allow you to choose any setting you want are very expensive and not used by normal people.
 
You must log in or register to reply here.
Back
Top