Shooting video in 25 fps. Is it best to convert to 24 fps in FCP X?

Hey guys. I'm a newbie to the boards here but I just currently purchased a Canon Rebel 1100D that shoots video in 30 fps or 25 fps and using Final Cut Pro X for editing.
I know getting the film look is shooting in 24 fps and I definitely want that same look here.
I'm working on a short film and want to know is it better to shoot video in 30 fps then convert to 24 fps OR just shoot in 25 fps and convert to 24 fps?
Any tips on what is best is cool with me. I'm a newbie, so be kind if possible!

brandon_4385 wrote:
… I know getting the film look is shooting in 24 fps ...
sorry to say that, but that is (silly) wrong.
You get a film-look with 25 or 30fps too ... ok, Mr.Jackson failed to create a film-look with 48fps - but that is another story...
Film Look:
the low frame-rate allows to create 'natural motion blurr', which is the main ingredience of 'film look'; watch any Hollywood blockbuster - any frame shows blurred areas.
why?
Because 24fps allows - based upon the 180° rule - a low shutter speed of 1/48th sec.
You know from photography: slow shutter speed = blurred.
So, set your cam to 25fps AND speed to 1/50th - probably you have to use a small aperture number, which leeds to the next problem:
(actual) Film-Look shows shallow Depth-of-Field - which asks, you learned as a photographer, for a wide open aperture...
so, how to accomplish that?
use ND-filters!
I have a cheap one, which is modifiable - just turn it, and its from 50-400 (or something) - very handy
finally…
After perfect lighting, using correct settings, you add:
grading (such as popular teal'n orange), add artificial grain, apply tons of light-leaks/lens flares (greetings to Mr Abrams ) = film look.
but not '24fps' vs. 25fps ... that's nonsense.-

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The article below will help you determine which cameras are supported for iMovie '10
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http://help.apple.com/imovie/10/cameras/en/index.html?lang=en_US
Cheers,
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I wish to record video in 24 fps - dearly
Is there any way to by pass the phones inbuilt regulations (30 and 60 fps)? For example, I use an app (vintage 8mm video camera), which makes my phone record, or at least appear to record, in 15 fps, so maybe there is a way?
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Well, 30 fps is smoother than 24 fps and that is the problem, a bit of the cinematic look is lost. The industrial standard so far is to record or at least deliver the films in 24 fps, so we are simply conditioned to associate that frame rate with a film in the cinema. A deviation is The Hobbit, which is delivered at the double, 48 fps, I have not seen it myself though but am curious.
I read another interesting explanation on why many find 24 fps attractive, and that was that because of the less smooth expeience, we accept it as a film, and not reality, and because of this, more easily are drawn into the alternative universe the film maker creates.
At the last Sundance film festival, Tangerine, a film that was shot entirely with a phone, received a lot of praise, here is what the director says about the technical solutions:
"CP: What additional technology did you use to make shooting with an iPhone viable?
SB: We had this wonderful little anamorphic adapter that fits onto the end of the iPhone. It allowed us to shoot with a widescreen aspect ratio, which gave the film a very cinematic scope. We also used an inexpensive app called Filmic Pro; it locks exposure and focus, and most importantly it shoots at 24 frames a second. The adaptor and the app are what made me believe we could make an iPhone movie that looked like a film. I was pleasantly surprised to see that the film has a Super 16 feel on the big screen. [In post-production] we added grain and pumped up the colors, which added to the cinematic look and achieved something unique."
(For android I believe 'Cinema FV-5' is a corresponding app)
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I have a project in which I need to shoot training videos which will essentially just be head shots of myself.
Because I need to be my own cameraman I would like to record the video directly to my Mac's hard drive via iMovie '09 (or iMovie '11 if I upgrade) and frame the shot in my Mac's monitor rather than on a tiny, flipped camera viewfinder.
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Message was edited by: Cumbaw2

Thanks. That makes sense. It is not practical for me to use an external monitor for this, so I will look into getting a firewire video camera.
Forgive my ignorance, but are firewire video cameras still manufactured at the prosumer level? I want the video to look very good, but it does not have to be absolute broadcast quality. My budget tops out around $1500 for this. I need to hook up an external mic for good audio.
Any recommendations from this list of compatible cameras? The list does not specify which are firewire cameras.:
http://help.apple.com/imovie/cameras/en/index.html?lang=en_US

70D - bright lights cuasing artifacts when shooting video

I'm getting lots of artifacts created by bright light sources when shooting video. It seems to be the intensity of the light and not the type of light that is the problem. They show up in the picture as a kind of mirror reflection, often in green, on a different part of the image. Any ideas how to avoid this?
Canon 70D, 50mm 1.8, NTSC, 30fps, 1/60 shutter, no filters
video shows the problem http://youtu.be/iCAiGoJCGSM
The bottom of this pic shows the green reflections from the lights at the top

metice wrote:
Thanks Tim, the lens is the Canon 50mm 1.8.
I'm using a UV filter - is it worth taking this off?
I'm quite disappointed because it's very noticeable on many night shots which have the light source in the frame. Anything else that can be done to lessen the glare, apart from changing the lens?
Hi,
Yes, those are definitely optically related flare effects.
And, yes, definitely try again without the UV filter, especially if it's an inexpensive, single-coated or uncoated filter. Any filter will increase flare effects when shooting in tough lighting situations like these, a high quality multi-coated might minimize it but still is likely to show some add'l flare. Cheaper filters can do horrid things to your images, potentially blurring them and causing focus errors, in addition to increasing flare effects.
Try using a lens hood, too. That physically protects the lens, but also can minimize veiling and other types of flare from bright light sources just outside the image area by preventing oblique light from striking the lens. The 50/1.8 has fairly well recessed front element, but a hood might help even more. Since you are using the lens on a crop sensor camera, instead of the OEM hood (which is designed for full frame), you might look for a 52mm screw-in hood designed for a short telephoto.
Unfortunately, you will still see some flare effects... The 50/1.8 isn't the best lens dealing with flare. The EF 50/1.4 and Sigma 50/1.4 both are better, but of course they cost more. Also, the 5-bladed aperture of the 50/1.8 contributes to the appearance of those flare effects... The 8-bladed aperture of the EF 50/1.4 or the 9-bladed aperture of the Sigma 50/1.4 give somewhat nicer background blur results (the eight curved blades or the premium EF 50/1.2L can be even better, but that's a rather pricey lens).
You also might experiment with stopping the lens down a little... both the Canon EF 50/1.8 and 50/1.4 are sharper at f2.0 or f2.2 than they are wide open. You might find they control flare better at a bit smaller aperture, too. I'd experiment with f4, f5.6 and f8, too.
A zoom lens likely would be worse than using a prime such as you are doing. But some zooms deal with flare pretty effectively.
Also watch the viewfinder and try slightly changing your position. Even just a little change can make a huge difference.
Compare these two images I made with my 24-70/2.8L.... I could see the flare occurring in the viewfinder and all I did to dodge a lot of it was change my position slightly.
I nearly always use a lens hood. Here's an example of the difference a lens hood can make. The EF-S 10-22mm lens has a huge lens hood that's a bit of a pain to pack. (Most Canon hoods reverse neatly on the lens for storage in minimal space. The 10-22mm's hood is just too large diameter to do that comfortably in any of my camera bags.) I thought about using the lens without any hood, since it's very shallow and doesn't seem it would be very effective anyway, so I did the following test shots...
As you can see, the first shot without the hood showed a very strong ghost flare. The second shot, after simply adding the hood, shows no flare at all. Note: it was a breezy day, so the clouds moved a bit while I was installing the lens hood. But, obviously the hood is effective. So I carry and use the hood, even if it is a bit of a pain.
Finally, there are times when flare effects can work for you, might actually add to the image. For example, I think that's the case here...
Above is a bit abstact... it's the sun reflecting off the corner of a building and was shot with an EF 100/2.8 USM macro lens. I think it would be pretty boring without the flare effects.
Regarding filters... I have various that I use, too. Including UV for "protection" (plus C-Pol and othersfor different purposes). They are all stored in my camera bag until actually needed. I never leave a filter on a lens all the time. IMO it's sort of silly to expect much real "protection" from a thin piece of glass (I've actually seen lenses gouged and damaged by broken filters). And there are just too many situations such as yours, where a filter can do more harm than good in the images. Another imporant factor... I use mostly B+W MRC and Hoya HMC or SHMC filters, which are high quality, multi-coated. There are other high quality brands... in fact most manufacturers offer different qrades at different price ranges.
Plus, when using a filter, it's even more important to use a lens hood as well, to keep oblilque light off the filter.
Alan Myers
San Jose, Calif., USA
"Walk softly and carry a big lens."
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Shooting video in 25 fps. Is it best to convert to 24 fps in FCP X?

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