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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

2 places to set frame rate??

T

Tom Camarda

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So, apparently there are TWO places to set the frame rate on a SCARLET camera when you want to change speeds??

The frame rate on the touch screen AND in the settings menu as well? So if you change speeds on the touch screen, it's reall NOT shooting that speed unless you've set it somewhere deep inside the menus as well!!??

REALLY!?

Thanks for that guys. (Sarcasm)
 
well there is shooting frame rate and project frame rate. Pretty much any time you change the shooting frame rate via touch it always works. But if you are trying to shoot 48 and have your project in 48, then yes you need to make 2 adjustments
 
You set the projects time base at the start of the job. Change the frame rate in the touch screen if you want to over crank and you'll see varispeed appear in the bottom right corner. If you want to change the projects time base you would need to go into two menus.. but that's unlikely really.
 
project speed: what you are finishing as (so 23.98 for cinema or 29.97 for tv in most cases)
frame rate/varispeed: what you want your current shot to be like- overcrank / undercrank
 
Tom Camarda said:
Why does the Red need a project frame rate AND a current shooting rate?
Click to expand...

To start, Saumene pointed out in post #5: are you shooting for TV broadcast or cinema?
Are you ever going to have to deliver in PAL or 50i? Then 23.98 is the better choice.

If your delivery format is 60i and your project was set for 23.98, you will need a 2-3 pulldown.
What that means: Film was normally shot at 24FPS. To convert the frame rate for broadcast TV, you need to add 6 frames (12 fields) to each second to get to 30 frames of video.
Broadcast video actually plays back at 29.97 FPS - and film actually plays back at 23.976 fps during a transfer.
To create the extra frames, the first frame is made up of 2 fields of the first frame of the 24fps original.
The second frame is made up of 2 fields of the second frame of the 24 fps original.
The third frame is made up of 1 field from the second frame and 1 field from the third frame of the 24 fps original.
The fourth frame is made up of 1 field of the third frame and 1 field of the fourth frame of the 24 fps original
The fifth frame is made up of 2 fields of the fourth frame of the 24 fps original.

Now you have 5 frames of images derived from 4 frames of original.

All of this conversion - or other frame rate manipulation - is not required if you are delivering for one format and set your project rate accordingly.


Added consideration(s):
Synchronizing audio.
Setting up lock-it boxes.

These cameras are professional tools.
Knowing the project rate - and setting the camera accordingly - is essential to delivering what your client expects from a competent operator.
 
Tom Camarda said:
Why does the Red need a project frame rate AND a current shooting rate?
Click to expand...


All professional cameras that I know of have a project and a shooting rate..... why???? simple explanation for me is over and under cranking, and syncing.

Your project rate is handling your finished image, your play back speed, your timecode. With out a common point between cameras, and audio it would become very time consuming to link up all audio and cameras, plus V-FX, and so much more.

And if you know you want to capture some beautiful slow motion, having 200fps captured with a project rate of 24 will allow that, and it will allow you to see it then and there vs watching it play back at 200fps very fast and quick and not what you wanted at all.
 
David,

Nicely written overview.

Allow me to add to this quote from your article:

"Interesting fact: the original standard for film was going to be 48 frames per second but it literally doubles the cost, size and weight of everything, 24 frames was chosen because it had the most tolerable amount of flicker that the human eye can handle. "

Glad you brought that up. In a strange twist, in many cases, when you watch a standard film projected at 24fps, you are really seeing 48 images. During projection, the film stops in the gate via an intermittent sprocket (the shutter had been covering the light path during the move). With the shutter open passing the light, a second counter-rotating shutter blocks the image momentarily so that each "frame" is projected twice.
Not only does this trick your mind into "seeing" 48 images per second, but it has an added advantage of allowing the film to cool off slightly. The emulsion begins to distort as soon as the intense heat from the Xenon lamps hit it - too long and it melts...

With the double shutter projectors, you end up with lower lumens on the screen - but a better set of data for our mind's "persistence of vision" to reduce the flicker.
 
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