Director of Photography
No, do not always shoot extra footage at 60 or 120. If shooting overcrank without a specific plan of how it will be used in the edit, its best to stick to multiples of the project frame rate so that those clips can be easily played at real time speed without any interpolation if needed. So, yes 60 and 120 for projects that will be released at 29.97p (or 30p), but for 24fps (or 23.976) projects shoot your over crank at 48, 72, 96, or 120. For 25fps projects, shoot over crank at 50, 75, or 100. You get the idea.
FYI SmallHD only works with the probe that has their branding on it, not just any x1
How often have you used a speed booster? With mechanical aperture lenses it’s fine, but the majority of EF glass has an electronically controlled aperture and this is what tends to be the problem with a speed booster adaptor. Frequently the aperture resets itself to a different f stop or it becomes completely uncontrollable requiring either resetting the speed booster or power cycling the camera, or both. I’ve tested multiple brands and it has always been a constant pain in the ass.
Same useless crap as the old credit roll feature. A credit roll that will look decent in screen requires parameters to limit it to moving exact pixel amounts per frame. Without it the results jitter and shimmer.
BTW: Nobody needs 4K. If Roger Deakins can shoot a 200million dollar epic that gets screened in IMAX without 4K (Blade Runner 2049 was shot on a standard Alexa sensor) it’s probably a safe bet no one else needs it either.
BMPCC is a lovely little camera, but neither it, nor the GH4 would be good candidates for what Yedlin is discussing here. He proved that the quality of each pixel recorded matters more than the number of pixels once you get to the level of human vision, which hits somewhere just before HD. Supersampling at the sensor level still matters because of the Bayer pattern. On this count the BMPCC falls short because it has a 1920x1080 photosite sensor that delivers HD luma, but far less than HD chroma. The Alexa s35 sensor is not 4K, but it's ~3K sensor enough to yield HD chroma. The GH4 falls short because the codec is extremely compressed, and the color sampling is limited to 8bit 4:2:0. Yedlin's sources for the test are all at least 12bit 444 (or film scanned to 12bit 444), regardless of the resolution.