is a very nice video, greetings from Seville

absolutely. 24P is the next step for sure.

P.

Why is 24P preferable to for example 30P when talking video? It seems to me that you do a lot of panning and dolly shots; wouldn't it be better to use 30P for that?

vegar,

it is an aesthetics question that some will disagree on. 24P is slow enough that it has some motion blur but not too much. 30P is almost too smooth, at least for us. you may enjoy that for some panning to dolly shots, and i can understand the logic, but our eyes see with a motion blur similar to 24P over 30P so it also is more familiar. films are shot in 24P which then adds to the production value in a psychological sense. as long as you avoid lateral dolly and pan moves you are good, and even if you do those, just track a subject and your still good (such as the bride entering the church or the bride coming down the aisle).

P.

Patrick,

I have been trying to explain to people that our eyes see motion in a blur closer to 24p than 30p...that is one reason why when we see 30p we think something is amiss. I have ordered the 7D too :)...can't wait!

The most important aspect when we use 24p you our wedding cinematography can be submission for theatrical distribution. Because film is 24p not 30p and all major studio want 24p. As cinematographers we require to shoot 24p everybody. please.

is a very nice video, greetings from Seville

is a very nice video, greetings from Seville

is a very nice video, greetings from Seville

gotta love the 24 + steadicam. quite the combo.

P.

is a very nice video, greetings from Seville

thanks matt. i wrote about that on our blog. the 'practice' was one of the highlights of the day for me.

P.

the song is sorta by ingrid michaelson. she has some awesome tunes.

P.

depends what your doing. i would take a 7d with 24P and aps-c sensor. the dof is more than enough and the ability to overcrank and get 24P is huge for us. that being said, a 5d is amazing for super wides. i think our setup for '10 will be 3 7ds and 1 5d.

P.

what is the different between 30/24/25/60/50? i still dont understand yet. my 5d mk2 file looks good in fcp export in hdv 1080i60 while played on vlc player/ quicktime. what is your sugestion in exporting? im in pal zone. are you give the bride dvd or blue ray? how can i burn hdv files to dvd?

we had four total. one on the groom, one on the bride, one center main angle, and then one creative (steadicam, slider, monopod etc). lenses were a 70-200 on the bride, 24-70 in the center (which got us some awesome super wides), and then a 135 f2 on the groom.

P.

the work is both beautiful and inspiring... but with so many cameras working don't u have to get special "movement rights" from a priest to be buzzing around the b & g like that in a church and isn't it a bit obtrusive to the ceremony with all those cams and operators moving so close??? curious...

thank you so much for the kind words.

P.

is a very nice video, greetings from Seville

i replied to the same Q above :)

P.

not sure what your referring to. there wide steadicam from the side and the front processional shot were a bit dark and brightened in post, which brings out more noise, especially since it was shot around 800 iso. that may be what your referring to.

P.

yes, this is what i´m referring. whenever I see one of your videos I think the same.
How long does the entire video that you give the
brides? Does all the work is recorded in the same way?

a main feature is 20-30 minutes. it is of the same quality and pace of a highlights or sde. they are all recorded with the 5d or 7d.

P.

we waiver back and forth. either standard PP and less in post which equals more efficient for an sde OR we dial down the contrast a couple notches and the saturation down one and work with it more in post. this one was the latter. more than the PP to us is the right white balance/exposure and learning the white balance shift and using that to your advantage.

P.

hey rob,

thanks for the comment.

one // we do do still photography, but not for all of our weddings. this one was with a local photographer. we work closely with whoever is there to not have them in the shots as we feel any sort of crew takes away from the story. we are very efficient with our shooting and work as a team with whoever is doing photo. of course that is easier with justin + amina, our photographers, but it can be done either way.

two . one // our collections include a main feature, which is generally 20-30 minutes and the quality of a highlights clip. our larger collections then also include a full length ceremony and speeches with sound. this collection was highlights, main feature, doc speeches, and sde.

two . two // we do use reception lighting, both soft and harsh, always off camera. we work with photographers to make the most of it. generally it is high enough to be out of eye line and avoid complaints plus we use 250 w pro lights so they aren't that bright. so no, no complaints. we do leave them up - if there is a long period of inactivity we will shut them of for a bit.

P.

white balance is in kelvin mode, sometimes using the white balance shift to get it right on. everything is touched in post to dial in exposure, contrast, and color. quite the challenge for an sde but we find it goes a long way in the finished piece.

P.

four. one steadicam cam, then up to three for other parts, such as the ceremony. for preps we only pulled two out.

P.

Did you use the Merlin? That is such a sweet rig!!! I am stoked.

thank you qusay :)

P.

it is actually just the standard apple TV encoding preset in compressor.

P.

Thanks guy!

sde = same day edit. this is all shot, edited, and shown on the wedding day.

P.

i agree with you.

we like to use the best, which is why we chose the pegasus heavy lifter. i have seen the pocket dolly. it looks like a glidetrack with a crank. looks like they even use the same supplier for the rails - and if so, that is plastic bushings sliding along, which isn't nearly as smooth as bearings.

P.

No update in sight...Buy the 7d...!! Now I have the hvx, 5d and 7d

24p on the 5d still doesn't solve the rolling shutter. i also find we have more cases of needing to get in tighter bs getting wider. as much as people complain about the crop, it can be more of a paradigm, since it is a smaller sensor, vs actually thinking of it practically.

P.

no to both. it is in how you shoot, the expectations you setup, and how you carry yourself. the couple commented on how little they saw us throughout the day and we haven;t had any complaints from guests or officiants. we often have them encouraging us to get in closer vs telling us to get further away.

we are very respectful of their boundaries but if we can do more and have the same perceived impact as somebody doing half as much, why not produce a more compelling, more emotive film for the couple?

P.