F3: What is the best option for 34-36 fps?

[Douglas Villalba]

Doug, is there any lip-syncing going on while you are shooting 36fps?

If so you need to create a playback track that is sped up the same amount from your base project frame rate.

No, it is just for the story part. A couple acting out the story in a bedroom set with some fan blowing the drapes and so on.
I will be working on the script this week. I just want to make sure that what I have in mind will work before I put it on the script.

 

[Viddovation]

If had a budget I would rent a camera that would record natively 1080/24 at 36 fps. I'm doing a music video for my demo so I have to use what I already own.
Thanks anyway.

Totally understand. I know that people sometimes look up old threads for solutions, so I did want to make sure it was pointed out that the SR-R1 is a technically perfect solution to the original post problem. The SR-R1 for all intents and purposes turns the the F3 into a native 1080 23.98 at 36fps camera.

 

[Douglas Villalba]

Totally understand. I know that people sometimes look up old threads for solutions, so I did want to make sure it was pointed out that the SR-R1 is a technically perfect solution to the original post problem. The SR-R1 for all intents and purposes turns the the F3 into a native 1080 23.98 at 36fps camera.

How can it do 1080/24p 36 fps if it is not in cameras build in menu?

 

[Viddovation]

How can it do 1080/24p 36 fps if it is not in cameras build in menu?

Douglas,

Essentially, when you use S&Q mode, the dual-link (or 3G) output automatically sends a 1080p version of those frames out, and the SR-R1 has menu settings and firmware to "catch" it.

To wit:
With the SR-R1 attached over 3G or dual link, with a 4:2:2 video or Slog mode selected, when you enter a S&Q setting between 17 and 60fps, the SR-R1 can be set to record the exact same frames recorded to the SxS cards in the camera, but in 1080p. The specific menu settings are mostly on the SR-R1. You need to set a matching frame rate input, and turn on snychro record. When you do this, the recorder will listen for flags in the SDI signal telling it which frames to record and which ones to drop. So even if it "sees" 59.94 frames per second, it only sees 36 (for example) frames flagged for capture. It drops the rest.

Read the SR-R1 manual to get detailed instructions on how it works - Revision 4 version.

But it is a true solution that records 36 correctly spaced frames to a 24fps container - in 1080p with very light compression.

 

[Nate Weaver]

Honestly, if this is that much of a kerfuffle, I'd simply shoot 720p23.98 to SxS and overcrank to 36 and be done with it. It will look fine. Not a single viewer will ever pick out 1080 vs 720, 8bit vs. 10bit. It will NOT be the weak link in your production.

If you are the director and the DP yourself, no goofy details of post tech and camera tech are worth the distraction unless you can do it in your sleep.

Expend your energies on the more important things like where the camera goes, where the lights go, and making sure what's in front of the camera looks good.

 

[Viddovation]

Honestly, if this is that much of a kerfuffle, I'd simply shoot 720p23.98 to SxS and overcrank to 36 and be done with it. It will look fine. Not a single viewer will ever pick out 1080 vs 720, 8bit vs. 10bit.

If you are the director and the DP yourself, no goofy details of post tech and camera tech are worth the distraction unless you can do it in your sleep.

Expend your energies on the more important things like where the camera goes, where the lights go, and what is going on in front of the camera.

There's some sense in this advice, and it sound like this may be what's most practical for Douglas this time round, but I will say that the SR-R1 solution is actually very easy to implement, and if you're in a tough shooting situation that would benefit from S-Log, then it makes a great deal of sense.

I own the SR-R1, and it's literally no more than five minutes of configuration, and it will match perfectly with every F3 setting including filename.

 

[Douglas Villalba]

But it is a true solution that records 36 correctly spaced frames to a 24fps container - in 1080p with very light compression.

Interesting. Glad to know this for the paying jobs. I like that effect on TV Commercial so I'll provably give a try in the future.

I'd simply shoot 720p23.98 to SxS and overcrank to 36 and be done with it. It will look fine. Not a single viewer will ever pick out 1080 vs 720, 8bit vs.

That is the back up solution, but I always want to start with the highest quality possible. I like to go over the clients expectation 'cause in reality I do it so I am happy with it. The client usually doesn't have the trained eye to see the difference.
There are a lot of music videos out there shot with the 5D, but when I show my work to people that have had their previous videos done with the 5D, they can see the difference.