slowmoVideo is an OpenSource program that creates slow-motion videos from your footage.
Slow motion cinematography is the result of playing back frames for a longer duration than they were exposed. For example, if you expose 240 frames of film in one second, then play them back at 24 fps, the resulting movie is 10 times longer (slower) than the original filmed event….
Film cameras are relatively simple mechanical devices that allow you to crank up the speed to whatever rate the shutter and pull-down mechanism allow. Some film cameras can operate at 2,500 fps or higher (although film shot in these cameras often needs some readjustment in postproduction). Video, on the other hand, is always captured, recorded, and played back at a fixed rate, with a current limit around 60fps. This makes extreme slow motion effects harder to achieve (and less elegant) on video, because slowing down the video results in each frame held still on the screen for a long time, whereas with high-frame-rate film there are plenty of frames to fill the longer durations of time. On video, the slow motion effect is more like a slide show than smooth, continuous motion.
One obvious solution is to shoot film at high speed, then transfer it to video (a case where film still has a clear advantage, sorry George). Another possibility is to cross dissolve or blur from one frame to the next. This adds a smooth transition from one still frame to the next. The blur reduces the sharpness of the image, and compared to slowing down images shot at a high frame rate, this is somewhat of a cheat. However, there isn’t much you can do about it until video can be recorded at much higher rates. Of course, many film cameras can’t shoot at high frame rates either, so the whole super-slow-motion endeavor is somewhat specialized no matter what medium you are using. (There are some high speed digital cameras available now that allow you to capture lots of digital frames directly to your computer, so technology is starting to catch up with film. However, this feature isn’t going to appear in consumer camcorders any time soon.)
1. Watch every frame of raw footage twice. On the second time, take notes. If you don’t do this and try to start developing a scene premature, then it’s a big disservice to yourself and to the director, actors and production crew.
2. Nurture the relationships with the director. You are the secondary person in the relationship. Be calm and continually offer solutions. Get the main intention of the film as soon as possible from the director.
3. Organize your media so that you can find any shot instantly.
4. Factor in extra time for renders, exports, errors and crashes.
5. Attempt edits and ideas that shouldn’t work. It just might work. Until you do it and watch it, you won’t know. Don’t rule out ideas just because they don’t make sense in your mind.
6. Spend more time on your audio. It’s the glue of your edit. AUDIO SAVES EVERYTHING. Create fluid and seamless audio under your video.
7. Make cuts for the scene, but always in context for the whole film. Have a macro and a micro view at all times.
“Not every light performs the same way. Lights and lighting are tricky to handle. You have to plan for every circumstance. But the good news is, lighting can be adjusted. Let’s look at different factors that affect lighting in every scene you shoot. “
Use CRI, Luminous Efficacy and color temperature controls to match your needs.
Color Temperature Color temperature describes the “color” of white light by a light source radiated by a perfect black body at a given temperature measured in degrees Kelvin
CRI “The Color Rendering Index is a measurement of how faithfully a light source reveals the colors of whatever it illuminates, it describes the ability of a light source to reveal the color of an object, as compared to the color a natural light source would provide. The highest possible CRI is 100. A CRI of 100 generally refers to a perfect black body, like a tungsten light source or the sun. “
“Memory colors are colors that are universally associated with specific objects, elements or scenes in our environment. They are the colors that we expect to see in specific situations: these colors are based on our expectation of how certain objects should look based on our past experiences and memories.
For instance, we associate specific hues, saturation and brightness values with human skintones and a slight variation can significantly affect the way we perceive a scene.
Similarly, we expect blue skies to have a particular hue, green trees to be a specific shade and so on.
Memory colors live inside of our brains and we often impose them onto what we see. By considering them during the grading process, the resulting image will be more visually appealing and won’t distract the viewer from the intended message of the story. Even a slight deviation from memory colors in a movie can create a sense of discordance, ultimately detracting from the viewer’s experience.”
In color technology, color depth also known as bit depth, is either the number of bits used to indicate the color of a single pixel, OR the number of bits used for each color component of a single pixel.
When referring to a pixel, the concept can be defined as bits per pixel (bpp).
When referring to a color component, the concept can be defined as bits per component, bits per channel, bits per color (all three abbreviated bpc), and also bits per pixel component, bits per color channel or bits per sample (bps). Modern standards tend to use bits per component, but historical lower-depth systems used bits per pixel more often.
Color depth is only one aspect of color representation, expressing the precision with which the amount of each primary can be expressed; the other aspect is how broad a range of colors can be expressed (the gamut). The definition of both color precision and gamut is accomplished with a color encoding specification which assigns a digital code value to a location in a color space.
ACES 2.0 is the second major release of the components that make up the ACES system. The most significant change is a new suite of rendering transforms whose design was informed by collected feedback and requests from users of ACES 1. The changes aim to improve the appearance of perceived artifacts and to complete previously unfinished components of the system, resulting in a more complete, robust, and consistent product.
Highlights of the key changes in ACES 2.0 are as follows:
New output transforms, including:
A less aggressive tone scale
More intuitive controls to create custom outputs to non-standard displays
Robust gamut mapping to improve perceptual uniformity
Improved performance of the inverse transforms
Enhanced AMF specification
An updated specification for ACES Transform IDs
OpenEXR compression recommendations
Enhanced tools for generating Input Transforms and recommended procedures for characterizing prosumer cameras
Look Transform Library
Expanded documentation
Rendering Transform
The most substantial change in ACES 2.0 is a complete redesign of the rendering transform.
ACES 2.0 was built as a unified system, rather than through piecemeal additions. Different deliverable outputs “match” better and making outputs to display setups other than the provided presets is intended to be user-driven. The rendering transforms are less likely to produce undesirable artifacts “out of the box”, which means less time can be spent fixing problematic images and more time making pictures look the way you want.
Key design goals
Improve consistency of tone scale and provide an easy to use parameter to allow for outputs between preset dynamic ranges
Minimize hue skews across exposure range in a region of same hue
Unify for structural consistency across transform type
Easy to use parameters to create outputs other than the presets
Robust gamut mapping to improve harsh clipping artifacts
Fill extents of output code value cube (where appropriate and expected)
Invertible – not necessarily reversible, but Output > ACES > Output round-trip should be possible
Accomplish all of the above while maintaining an acceptable “out-of-the box” rendering
Most software around us today are decent at accurately displaying colors. Processing of colors is another story unfortunately, and is often done badly.
To understand what the problem is, let’s start with an example of three ways of blending green and magenta:
Perceptual blend – A smooth transition using a model designed to mimic human perception of color. The blending is done so that the perceived brightness and color varies smoothly and evenly.
Linear blend – A model for blending color based on how light behaves physically. This type of blending can occur in many ways naturally, for example when colors are blended together by focus blur in a camera or when viewing a pattern of two colors at a distance.
sRGB blend – This is how colors would normally be blended in computer software, using sRGB to represent the colors.
Let’s look at some more examples of blending of colors, to see how these problems surface more practically. The examples use strong colors since then the differences are more pronounced. This is using the same three ways of blending colors as the first example.
Instead of making it as easy as possible to work with color, most software make it unnecessarily hard, by doing image processing with representations not designed for it. Approximating the physical behavior of light with linear RGB models is one easy thing to do, but more work is needed to create image representations tailored for image processing and human perception.
An exposure stop is a unit measurement of Exposure as such it provides a universal linear scale to measure the increase and decrease in light, exposed to the image sensor, due to changes in shutter speed, iso and f-stop.
+-1 stop is a doubling or halving of the amount of light let in when taking a photo
1 EV (exposure value) is just another way to say one stop of exposure change.
Same applies to shutter speed, iso and aperture.
Doubling or halving your shutter speed produces an increase or decrease of 1 stop of exposure.
Doubling or halving your iso speed produces an increase or decrease of 1 stop of exposure.
1 to 100% Stepless Dimming, 1500 Lux Brightness at 3.3′
LCD Info Screen. Powered by an L-series battery, D-Tap, or USB-C
Because the light has a variable color range of 3200 to 9500K, when the light is set to 5500K (daylight balanced) both sets of LEDs are on at full, providing the maximum brightness from this fixture when compared to using the light at 3200 or 9500K.
The LCD screen provides information on the fixture’s output as well as the charge state of the battery. The screen also indicates whether the adjustment knob is controlling brightness or color temperature. To switch from brightness to CCT or CCT to brightness, just apply a short press to the adjustment knob.
The included cold shoe ball joint adapter enables mounting the light to your camera’s accessory shoe via the 1/4″-20 threaded hole on the fixture. In addition, the bottom of the cold shoe foot features a 3/8″-16 threaded hole, and includes a 3/8″-16 to 1/4″-20 reducing bushing.
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