Slow Motion Tips:
Classic films like Reservoir Dogs, Top Gun and Wayne’s World employ slow-motion for emotional impact. Now that Casio, Samsung, JVC, LG and Ricoh cameras and phones tout slow-mo, amateurs can wield this same mighty power:
First, How Slow Motion Actually Works
Understanding the basic principle of slow motion is helpful for both properly following and bending the format’s rules, so bear with me for just a second. The film effect has its origins in overcranking—in the early days of film, camera operators literally cranked the film reel when shooting a scene. By cranking the reel faster, they saw their films projected more slowly.
Why? That’s where we get to the basic premise of slow mo. Slow motion captures a bunch of pictures very fast—at least 120 images per second, and often 300 or more. Meanwhile, video typically plays back at an eyeball-friendly 24-30 frames a second.
Tips For Shooting the Best Slow-Motion VideoSo when you play back those 300 fast images at the speed your eye is happy with, you have a huge excess of images. Your 300 images may have been filmed in one second of real shooting, but they will last for 10 seconds on screen—slow motion is born.
And while digital video has traditionally struggled in capturing the high frame rates necessary for true slow motion, many new cameras work just like overcranking, shooting hundreds of lower-resolution pictures per second. The tips here concern cameras and camcorders capable of high speed frame rates—not just cameras from Casio, but camcorders from Samsung and JVC, a Japan-only camera from Ricoh and LG’s Viewty cameraphone. This is not about slowing down your regular-speed footage in some kind of video editor.
1. Use Lots of Light
When you shoot slow mo, you are taking pictures quickly. And when you take pictures quickly, light has less time to create an image in your camera. Shoot in plenty of light, or you will get dark and gloomy slow-mo.
In real terms, that means that super high-speed shooting might not work indoors. On the Casio EX-F1, for instance, you can shoot 300fps indoors, and maybe 600fps if you’re near a window, but you can’t pull off its 1200fps setting without adding bright light. For the same reason, night shooting may very well be out of the question, depending on your particular rig and just what you expect from the image in terms of detail—artsy stuff may be fine, but don’t expect to film a hummingbird under the soft glow of the moon.
2. Mind Your FPS
As stated above, slow motion really doesn’t work very well on camera systems not designed for it in the first place. So if your camera only shoots 24 or 30 frames per second of video, your slow motion will be merely faked by whatever editing software you use. (It’ll suck.) This is about capturing life you normally can’t see: The flitting of a bug’s wings, the popping of a water balloon, the fleeting microexpression of joy or pain on a person’s otherwise complacent face.
Choosing the right frame rate for your subject is of vital importance. Here’s a chart with exemplary clips to get you started:
120fps: Baseline slow motion, just a quarter the speed of real life; it’s the go-to speed for sports replays
R.I.P HEAVY D.
R.I.P. to Heavy D! One of the the all time Hip Hop Legends! Not only was he a great artist but he gave a lot of people that are moguls now their start.
US recording artist Heavy D, the self-proclaimed “overweight lover” of hip-hop, who became one of rap’s biggest stars in the 1980s, has died aged 44.
He died on Tuesday after being found unconscious at his Los Angeles home.
Born Dwight Arrington Myers in Jamaica in 1967, Heavy D found fame with his band “The Boyz”, scoring hits with such tracks as Now That We Found Love.
He appeared on Michael Jackson’s 1991 song Jam and recently performed at the singer’s tribute concert in Cardiff.
“My heart goes out to the family and [loved] ones of Heavy D,” tweeted Jackson’s sister La Toya, who appeared with Heavy D at the event on 8 October.
Although he was known for his big frame, Heavy D never let his size become his defining characteristic.
The charismatic MC was more often a seducer and a comedian. “What’s it going to be, me or the TV?” he chided his lover on Now That We Found Love, his biggest UK hit.
With his band, The Boyz, he set the tone for New Jack Swing - sparse production, big R&B hooks and metallic drum loops - paving the way for the likes of Bobby Brown and Blackstreet.
Three of his albums - Big Tyme (1989), Peaceful Journey (1991) and Nuttin’ but Love (1994) - went platinum in the US.
In the early 1990s, he duetted with the likes of Notorious BIG and Janet Jackson, cheekily branding the latter “a walking bank vault” on her hit single Alright.
His music suffered as his acting career took off, with appearances on TV shows such as Law & Order: SVU and Boston Public in the early 2000s.
He also made select film appearances, with roles in The Cider House Rules and, most recently, alongside Ben Stiller and Eddie Murphy in the comedy Tower Heist.
However, he continued to create music and his last album, Love Opus, was considered a return to form when it was released in September this year.
Heart of gold
Rapper Ice T was among the rapper’s peers expressing condolences, saying he felt “sick” at the news of the Heavy D’s death.
“Stop for a second, take a breath and realize how lucky you are to be alive,” he wrote after hearing the news.
“We had a lot of great times touring together,” tweeted MC Hammer. “He had a heart of gold.”
According to Lt Mark Rosen of the Beverly Hills police, the rapper experienced breathing difficulties while returning home from shopping.
After collapsing in an exterior hallway, he was transported to Cedars Sinai Medical Center where he later died.
The musician is survived by family members including his daughter Xea.
So this week I’ve been doing days for Burberry shooting on the RED MX which has been very formulaic and tedious but the money is good so can’t complain. As of today for the rest of the week I’m working with different cameras, firstly the Aaton Penelope shooting 3-perf 35mm for a music promo which I’m testing today, and finally a short WWI drama shooting anamorphic on the RED Epic which I’ve worked with before and is such a nightmare. I’m very glad to be working with the Aaton Penelope for the next couple of days as it’ll relieve me of digital filmmaking. I may or may not post pictures or updates throughout the next couple of days but thought I’d at least share photos of the cameras for illustration purposes.
Here’s Mecky Creus, Powerhouse DOP, and the film crew setting up the next shot for City P’s “Settle Down” Music Video ft. Young Dee. Miki Richmond did an amazing job producing the video by bringing the ideas to life. We filmed on a Canon 5D and 7D and the footage looks amazing. The video is near the final stages of post production and should be released next month. I hope ya’ll enjoy the video with it’s released! #CreativeStateOfMind