I made this to give a composer, Alexander D’Authreaux, I’ve been wanting to work with. It’s a peek at the tone of a project I want to collaborate with him on, and the music featured is an excerpt from his piece called, The Three Chambers.
I think a lot of people are missing the whole point of shooting at a higher framerate (Peter Jackson and Co included); this is understandable, because it is a complex matter. From what I understand, the original idea of shooting higher rates (among other things) was to reduce blur; since the image is being recorded faster it will/should be able to capture faster-moving subjects with less artifacts. Essentially the concept is that you are capturing more image and motion data to do what you wish with in post (VFX, image clarity, etc); very similar to the concept of exposing your footage as “flat” as possible for more grading flexibility in post. This seems simple enough, right? Cinema is traditionally projected at 24fps (frames per second) so, once a crisper or smoother image is captured; the goal is to still project/display at 24fps. Douglas Trumbull, one of the forerunners of higher framerate acquisition (with his Showscan), demonstrates this principle (using 120fps capture) here-
With the likes of RED, Canon, Sony, and IMHO most interestingly- Digital Bolex, all shooting for images of the highest quality, I figured I’d take a trip down the lo-fidelity highways. And experiment with a format of a more “vintage” persuasion. (more…)