so i really want to get into filming videos/photography, just for fun, could you possibly give some tips for starting out with that? also, great video as always!
(There is a TL;DR at the end of this post) 0:41 this is an incredibly common misconception. Motion Blur does NOT scale from the frame rate. Motion blur is a natural phenomenon that also appears in our eyes. Our eyes however work very different from cameras. If you had to compare them to a camera, compare them to a digital camera, rather than an analog film camera. At least function wise. Cameras break motion down into frames. Our eyes dont do that. There is no frame rate of the eye, and there is no shutter speed of the eye because it doesnt even have a shutter. Our eyes work very differently but if you had to compare them to a camera, you would go as follows. The ISO is variable (your retina does actually adjust its sensitivity VEEEEERY slowly, It easily takes 30 minutes to fully adjust and it takes like 5 minutes to do 80% of the adjustment), The Iris is also variable and MUCH quicker in adjusting, which is important, because otherwise you would need 20 pairs of sun glasses each 1 stop less dim to slowly adjust your eyes after waking up with having had them closed all night. Sun Glasses are ND filters. The one thing you cannot adjust is the duration of exitation in your rod cells. How every long you expose them to light, which excites them - it will take ~1/50 of a second of darkness to unexcite them. This is similar to how reaction time/ghosting looks on an LCD works, although they usually have more like 1 to 5/1000s of a second. Now compare it to the principle of a CRT, which doesnt do ghosting in a same way. A CRT screen has a certain brightness in a certain spot, because phosphorus atoms get excited after being hit by an electron at a high speed. When becoming unexcited again they release this energy as light. Due to only certain energy levels being avaliable when an electron in an atom gets excited it will always put out the exact same wavelength of a photon everytime they become excited. Do this in reverse and you will slightly get how our retina does it. It is still an analogy, its not exactly the same but somewhat a similar phenomenon. But its a very important aspect to just accept, that your eyes dont capture frames. They dont work that way, which is why you see a night and day difference in 60hz playback on a monitor compared to 144hz, 240hz, 360hz or even 540hz nowadays. Just as much as eyes dont capture frames, they also dont have a shutter. The 180° rule applys if your PLAYBACK shutter speed is ~1/50s. Hollywood films are usually played back at 23.976p shot with 180° of shutter (the maximum film cameras can achieve btw). This gets you to ~1/48s of shutter speed, which is very close ~1/50s or 1/60s for the NTSC area. If you record slow motion at 1000p, you still record it at a 180° shutter, because if you play it back at 23.976p, 24p, 25p or 30p, you will end up with ~1/50s of playback shutter speed. Film cameras are not shooting at higher frame rates because you'd need to shoot at quicker speeds than 1/50s, which doesnt look natural. But if you film on a digital camera and aim your video to be recorded and SHOWN in 50p or 60p, you should apply the 360° rule, which also gives you the exact same shutter speed of 1/50s - the most "natural" one. Keep in mind that 50/60p and 50/60i are 2 completely different things, since i refers to the image being interlaced into half up and down frames. 50i meaning that there are 25 up and 25 down frames, giving you 50 half frames, which add up to 25 total frames. This was so that CRTs dont flicker unevenly where you could literally see the lower part of the screen already darkening while it is being refreshed on the upper rest. It is not perfectly comparable to rolling shutter artifacts, but imagine you had a rolling shutter of 1/25s but not warping the image, just the scan pattern of the CRT. Its as if you had rolling lighting instead of rolling motion if that makes sense to you. Not a perfect analogy as I just said. Of course you can for artistic purposes also always break that 1/50s shutter "rule" if that makes sense for your current shot. You may also aim at 1/100s or 1/1000s, 1/4s. Whatever you think makes sense for your shot. Lets say you make a more subjective shot showing someone who is super incredibly drunk, very slow shutter does make sense. If your subject is on stilmulants like MDMA or Cocaine or hallucinogens like LSD, it does kinda make sense to have incredibly short shutter because they precieve everything so "clearly". It then makes sense if motion is also shown very CLEARLY. This should make sense to you reading this. For anything else, aiming for 1/50s isnt wrong. For a film camera that would limit you to shooting in the 24p to 30p range. Keep in mind that film cameras cannot shoot interlaced footage natively, so they either have to record at 50p with 1/100s of a shutter (which could be viewed as the "90° rule" if you will), or you need to convert 25p to 50i using something like a computer for example. Shutter speed isnt incredibly complex, but definitely not even nearly as simple, as OP in the video above claims it to be. I cant find very clear info, why 24p was chosen to be THE cinema standard, but it seems to have been firstly due to technical limitations back then and it stood that way probably due to the well known "cinema" look that was established. On film cameras you cannot go any slower that 180° of shutter whithout blurring the whole image because it would still get exposed while rolling through behind the lens, giving you long vertical streaks across every frame on 35mm film and smaller and horizonal ones on IMAX film (which rolls horizontally, so they can use even more film of each frame on their 65mm size making IMAX actually MUCH larger than it sounds, because it rolls horizontally, which is already technically very challenging, if you all remember the Oppenheimer difficulties, when actually projecting it from real physical IMAX film through a film projector in the cinema). Anyway - if you wanted to get ~1/48s of shutter speed (the one and only cInEmA sTaNdArD), you cannot shoot faster than 24p unless of course you wanted to play the images back in slomo effectively making them 24p at playback. TL;DR: The 180° rule only applies if you play your recorded footage back at framerates between 23.976p to 30p. If play back at 48p or faster, the 360° rule applies for whatever framerate you record at. EDIT: 2:26 this is straight up wrong. Shooting everything at f1.4 with out prime lenses is not going to look cinematic. Its actually just going to look terrible. Instead you should shoot at low apertures, when its appropriate. That could be very intimate close ups, where you need to isolate your subject. But generally you only want to isolate a subject in a way (most of the time) that you can still barely judge where the hell they even are unless you dont want to show where they actually are - like if they were kidnapped for example. Or when they are [once again] ducking frunk. You dont need to always use the lowest possible aperture. Your lens has a variable aperture for a reason. Its not only lighting (although it will also get the job done if you dont have ND filters and also dont have any lower ISO avaliable (film btw also has ISO - did you know that - crazy isnt it?). EDIT 2: 4:25 You want your ISO at the appropriate level. That is usually the native ISO. Film doesnt have variable ISO. You can get film that has 200 native ISO, other rolls have 800 or 1600 - whatever. Your digital camera sensor also has one (1). For a RED Komodo that is ISO 800 for example. There are also cameras with dual native ISOs such as the Sony PXW-FX3. It has a native base ISO 800 and you can switch it to native base ISO 12800 if you need to (it also perform well there, making it extremely incredible for low light situations). Changing the native ISO is the digital equivalent of actually switching to a different kind of film role with a different native ISO. Think of digital cameras as flim cameras that dont have physical shutters and a reusable film role built into them. In the case of cameras like the FX3 you have 2 different kinds of film rolls built into the camera. If possible, always use the native ISO. If your image gets overexposed, either close the iris or use ND filters so you can change your iris more freely to only adjust DoF. If it gets underexposed, add light. Only if adjusting aperture, ND and lighting is not an option anymore, you adjust ISO. If even that is not an option anymore because it either gets grainy or it still is too bright, you can as a very last resort change the shutter speed. But changing the shutter speed for lighting is definitely THE VERY LAST resort if everything else is not possible. I'm sure OP knows all of this, but he didnt explain it so that everyone understands this. Only people who already know all of this can actually understand this video without becoming misinformed.
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Nice video! I wish I could get information across with the same energy and clarity
so i really want to get into filming videos/photography, just for fun, could you possibly give some tips for starting out with that?
also, great video as always!
I like your intro their nice 👍
Bro seriously I didnt know you well from team edge but now I know that your a well experienced person
Who's here after team edge try to find Joey video..lol
Lol me
me😂
thanks
i came from team edge
God Bless
I have a really expansive request! Could you do a video on you come up with a look for a film as a DP?
(There is a TL;DR at the end of this post)
0:41 this is an incredibly common misconception. Motion Blur does NOT scale from the frame rate. Motion blur is a natural phenomenon that also appears in our eyes. Our eyes however work very different from cameras. If you had to compare them to a camera, compare them to a digital camera, rather than an analog film camera. At least function wise. Cameras break motion down into frames. Our eyes dont do that. There is no frame rate of the eye, and there is no shutter speed of the eye because it doesnt even have a shutter. Our eyes work very differently but if you had to compare them to a camera, you would go as follows. The ISO is variable (your retina does actually adjust its sensitivity VEEEEERY slowly, It easily takes 30 minutes to fully adjust and it takes like 5 minutes to do 80% of the adjustment), The Iris is also variable and MUCH quicker in adjusting, which is important, because otherwise you would need 20 pairs of sun glasses each 1 stop less dim to slowly adjust your eyes after waking up with having had them closed all night. Sun Glasses are ND filters. The one thing you cannot adjust is the duration of exitation in your rod cells. How every long you expose them to light, which excites them - it will take ~1/50 of a second of darkness to unexcite them. This is similar to how reaction time/ghosting looks on an LCD works, although they usually have more like 1 to 5/1000s of a second. Now compare it to the principle of a CRT, which doesnt do ghosting in a same way. A CRT screen has a certain brightness in a certain spot, because phosphorus atoms get excited after being hit by an electron at a high speed. When becoming unexcited again they release this energy as light. Due to only certain energy levels being avaliable when an electron in an atom gets excited it will always put out the exact same wavelength of a photon everytime they become excited. Do this in reverse and you will slightly get how our retina does it. It is still an analogy, its not exactly the same but somewhat a similar phenomenon. But its a very important aspect to just accept, that your eyes dont capture frames. They dont work that way, which is why you see a night and day difference in 60hz playback on a monitor compared to 144hz, 240hz, 360hz or even 540hz nowadays.
Just as much as eyes dont capture frames, they also dont have a shutter.
The 180° rule applys if your PLAYBACK shutter speed is ~1/50s. Hollywood films are usually played back at 23.976p shot with 180° of shutter (the maximum film cameras can achieve btw). This gets you to ~1/48s of shutter speed, which is very close ~1/50s or 1/60s for the NTSC area. If you record slow motion at 1000p, you still record it at a 180° shutter, because if you play it back at 23.976p, 24p, 25p or 30p, you will end up with ~1/50s of playback shutter speed. Film cameras are not shooting at higher frame rates because you'd need to shoot at quicker speeds than 1/50s, which doesnt look natural. But if you film on a digital camera and aim your video to be recorded and SHOWN in 50p or 60p, you should apply the 360° rule, which also gives you the exact same shutter speed of 1/50s - the most "natural" one. Keep in mind that 50/60p and 50/60i are 2 completely different things, since i refers to the image being interlaced into half up and down frames. 50i meaning that there are 25 up and 25 down frames, giving you 50 half frames, which add up to 25 total frames. This was so that CRTs dont flicker unevenly where you could literally see the lower part of the screen already darkening while it is being refreshed on the upper rest. It is not perfectly comparable to rolling shutter artifacts, but imagine you had a rolling shutter of 1/25s but not warping the image, just the scan pattern of the CRT. Its as if you had rolling lighting instead of rolling motion if that makes sense to you. Not a perfect analogy as I just said.
Of course you can for artistic purposes also always break that 1/50s shutter "rule" if that makes sense for your current shot. You may also aim at 1/100s or 1/1000s, 1/4s. Whatever you think makes sense for your shot. Lets say you make a more subjective shot showing someone who is super incredibly drunk, very slow shutter does make sense. If your subject is on stilmulants like MDMA or Cocaine or hallucinogens like LSD, it does kinda make sense to have incredibly short shutter because they precieve everything so "clearly". It then makes sense if motion is also shown very CLEARLY. This should make sense to you reading this. For anything else, aiming for 1/50s isnt wrong. For a film camera that would limit you to shooting in the 24p to 30p range. Keep in mind that film cameras cannot shoot interlaced footage natively, so they either have to record at 50p with 1/100s of a shutter (which could be viewed as the "90° rule" if you will), or you need to convert 25p to 50i using something like a computer for example.
Shutter speed isnt incredibly complex, but definitely not even nearly as simple, as OP in the video above claims it to be.
I cant find very clear info, why 24p was chosen to be THE cinema standard, but it seems to have been firstly due to technical limitations back then and it stood that way probably due to the well known "cinema" look that was established. On film cameras you cannot go any slower that 180° of shutter whithout blurring the whole image because it would still get exposed while rolling through behind the lens, giving you long vertical streaks across every frame on 35mm film and smaller and horizonal ones on IMAX film (which rolls horizontally, so they can use even more film of each frame on their 65mm size making IMAX actually MUCH larger than it sounds, because it rolls horizontally, which is already technically very challenging, if you all remember the Oppenheimer difficulties, when actually projecting it from real physical IMAX film through a film projector in the cinema). Anyway - if you wanted to get ~1/48s of shutter speed (the one and only cInEmA sTaNdArD), you cannot shoot faster than 24p unless of course you wanted to play the images back in slomo effectively making them 24p at playback.
TL;DR:
The 180° rule only applies if you play your recorded footage back at framerates between 23.976p to 30p. If play back at 48p or faster, the 360° rule applies for whatever framerate you record at.
EDIT:
2:26 this is straight up wrong. Shooting everything at f1.4 with out prime lenses is not going to look cinematic. Its actually just going to look terrible. Instead you should shoot at low apertures, when its appropriate. That could be very intimate close ups, where you need to isolate your subject. But generally you only want to isolate a subject in a way (most of the time) that you can still barely judge where the hell they even are unless you dont want to show where they actually are - like if they were kidnapped for example. Or when they are [once again] ducking frunk. You dont need to always use the lowest possible aperture. Your lens has a variable aperture for a reason. Its not only lighting (although it will also get the job done if you dont have ND filters and also dont have any lower ISO avaliable (film btw also has ISO - did you know that - crazy isnt it?).
EDIT 2:
4:25 You want your ISO at the appropriate level. That is usually the native ISO. Film doesnt have variable ISO. You can get film that has 200 native ISO, other rolls have 800 or 1600 - whatever. Your digital camera sensor also has one (1). For a RED Komodo that is ISO 800 for example. There are also cameras with dual native ISOs such as the Sony PXW-FX3. It has a native base ISO 800 and you can switch it to native base ISO 12800 if you need to (it also perform well there, making it extremely incredible for low light situations). Changing the native ISO is the digital equivalent of actually switching to a different kind of film role with a different native ISO. Think of digital cameras as flim cameras that dont have physical shutters and a reusable film role built into them. In the case of cameras like the FX3 you have 2 different kinds of film rolls built into the camera. If possible, always use the native ISO. If your image gets overexposed, either close the iris or use ND filters so you can change your iris more freely to only adjust DoF. If it gets underexposed, add light. Only if adjusting aperture, ND and lighting is not an option anymore, you adjust ISO. If even that is not an option anymore because it either gets grainy or it still is too bright, you can as a very last resort change the shutter speed. But changing the shutter speed for lighting is definitely THE VERY LAST resort if everything else is not possible.
I'm sure OP knows all of this, but he didnt explain it so that everyone understands this. Only people who already know all of this can actually understand this video without becoming misinformed.
I hope everyone is having a safe and grand day! 😃💙 #NotificationSquad
3 parameters doesn't make a triangle 🤕we have to create a triangular meter 😂
Your vocals are too low in the mix... the sound bed youve got is mega distracting :(