Making still cinema and video clips doesn’t need to be twice a work: Photo … – The Oregonian

October 23, 2014 - photo frame

Here in a universe of New Media, aged media guys like me are re-inventing themselves into one-man-gangs; stating events in each fathomable form of media. Shooting both still cinema and video clips from a story has turn sincerely commonplace. It is not easy, and never a welfare for photographers. That isn’t since photojournalists are lazy, a since we frequency poise pictures. We wait for them. So when a story-telling impulse happens, we don’t wish to confirm that camera to constraint it with. So when we went to a filming of a blurb video for a Portland Trail Blazers, reserved to fire stills and video, we was committed to ignoring my orders. 

With a right camera, it is no longer required to fire both and here is why. we use cameras that can make still and video images, possibly 20-plus megapixel still frames or 1080p HD video clips. This isn’t a newness anymore, so I’m pity one of a secrets to not blank cinema while sharpened stills and video. Here it is — fire usually video.

It was once a box that still captures from video, generally from video tape, were of low quality, generally underneath low light. When we switched from a video camera to an HDSLR (high-definition singular lens automatic camera), a whole detailed universe altered for a better. Video cameras, during slightest a cheap, consumer class ones we was issued, specialized in automobile focusing, automobile exposing and holding any primer control out of a shooter’s hands. They had tiny picture sensors that increasing abyss of margin so that flattering most all in a support was sharp. This was accessible if we never wanted to consider about what we were doing, though frustrating if we did.

The HDSLR had a extraordinary multiple of high-quality video, prisoner on a full-frame 35mm distance sensor, with a shoal abyss of margin evil of photographs. Since a same sensor captures stills and video, they demeanour a lot alike. we was vacant when we non-stop a video shave in program that let me inspect it support by frame. Each support looked like a still. With a few adjustments, they could be even better. 

The order of ride for exposing video is regulating a shiver speed that is twice a support rate of a video. My video is shot during 30 frames per second, so a 1/60th of a second shiver speed is suggested. This gives a small suit fuzz to relocating objects, creation a video seem smooth. If we are formulation on creation stills from such a clip, a suit fuzz might make anticipating a pointy support difficult. we use a shiver speed of during slightest 1/250th of a second or faster in these situations. The video looks some-more choppy with a faster shiver speed, since each support is pointy — an excusable trade off underneath a circumstances.

View full sizeIn Aperture, dumpy to your favorite support and select “New JPEG from frame.”

I make a still support by opening a video shave in Aperture, my modifying app for stills, and relocating a playhead to a support we wish to make a still from. we click on a idol on a right and select “New JPEG from frame.” You can also play a shave in your computer’s local video player. Mine is Quick Time Player. we again dumpy to a support we want, switch to full shade view, and make a shade constraint (Command-Shift-3 on a Mac). we have a really high fortitude shade on my laptop (2880×1800 pixels), so my captures are aloft fortitude than regulating a prior method. 

But even if we constraint a full HD frame, 1920×1080 pixels, a ensuing still is 2.1 megapixels in size. Compare that with a initial veteran digital camera we used, a Nikon D1, that prisoner 2.7 megapixel images. Thousands of images during that distance filled a pages of The Oregonian for years with no complaints about wanting some-more resolution. Of course, some-more is better, though 10 times some-more is nonessential for my needs. 

I never demur to make stills from video if there are moments in a shave that call for closer inspection. The best instance in a gallery is a support of Blazer fans jumping. It was a good adequate video clip. we used 3 jumps in my video story, though a still from a initial burst was also in my still print gallery. Only 4 cinema in that strange gallery were shot as still frames. The rest are video captures, that gave me a leisure to fire a movement as it unfolded, but being dreaming by changing cameras from still to video and blank moments during a switch. Can we tell a difference?

–Michael Lloyd

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