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This weekly course covers the most common questions videographers encounter when shooting and editing with DSLR cameras, from choosing a frame size and frame rate to understanding moiré. Authors Rich Harrington and Robbie Carman will also help you understand the impacts of compression and the difference between cropped (or micro 4/3rds) and full-sized sensors in cameras, and much more. This continual FAQ guide is a handy way to find the answers to the questions that plague you the most.
Rich Harrington: Earlier we set the aperture to give us the overall depth of field that we wanted. We've got some shutter speeds. Now we're going to be shooting this at 24 frames per second. What's the standard shutter speed we should be using? Like if all things were working, is there sort of a base shutter speed when you're shooting 24? Jim: Yeah I mean, its 1 over the frame rate times 2. That's the formula for normal persistence of vision that you would see at a 24 frame frame-rate in film. Rich Harrington: So you would be looking for a 48th? Jim: 1 times 24 over 24 times 2 is a 48th.
On these cameras they rounded up to a 50th. 60th is close enough, which would be if you were filming at 30 frames per second. Same thing. But once you start going above or below that in the shutter, a slower shutter or faster shutter, you start to get a noticeable difference in how motion is portrayed, mostly blurry or sharper. We've all seen the effects. Rich Harrington: Now, Jason, would you mind just playing for a second, so we can see a little motion? So, it looks very natural here, right? Jim: Yes, it's sort of what our eyes see. Rich Harrington: Could you adjust that a little bit? Jim: Yeah, it'll get a little darker, so let me just bring up the ISO so we can change that shutter and you'll see, gradually, as I get, start to see a little bit.
Of the motion be a little sharper. Rich Harrington: Okay, so it starts to take on sort of a staccato look, but the crisper motion. Jim: Yeah, that's like 1/200th of a shutter. So, really strum it there, Jason, let's really show 'em. Now you can really see his hand, and if I start to go back it's a little more, it's normal now. And I'll show you again. He's really getting, if you look at, if I got really tighter around his hands, you could really see that it's, it's very sharp. And that a factor of the shutter. Now, if I go down to something lower I only can get to 1/30th, we'll start to get, it's softer, it's a softer feel.
And if I was tighter, you would really see the difference. It's a softer feel on the motion. Rich Harrington: All right, Jim, this makes sense. We've adjusted our aperture mostly around an artistic decision and a technical one for having movement with the jib, then you adjusted shutter speed in this case, so we had natural-looking motion. If we didn't have enough light, dropping to a 30th would brighten up the shot, right? Jim: Mm-hm. Absolutely. Rich Harrington: Okay. And, and in something like this, you could probably get away, but you can't go any slower than a 30th when you're recording video. Is that correct? Jim: On these DSLR cameras, that is true because they're designed to be still cameras as well as video cameras.
There are some limitations in the video so you couldn't get that really streaky, slow shutter feel below 30th. Rich Harrington: All right. Well this is working really well. We've got one more adjustment left on our fingertips and we'll take a look at that next week.
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