John and Abbey, united in marriage on 1.21.12 in Cokato, MN.
How can I tell the story of your wedding day? I would love to hear from you. Contact Me. Providing Creative Wedding Videography and Photography in MN.
Shot on a Canon 7D and 5D Mark II using the 70-200 2.8 IS, 17-85 IS, and 15mm L Canon Lenses. Edited and graded by Michael DeVowe in Premiere CS5.5.
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Other equipment used: Glidecam HD-2000, Ruige S500HD monitor, Rode VideoMic
A quick tutorial on converting your 60p video to 24p slow motion. This is referred to as “overcranking”. The method is very simple: slowing the footage down to 40% of its original speed. This creates a TRUE slowdown with no frame blending, motion estimation, or “creation” of frames.
0:00 – Slowing down 60p footage for 24p Slow Motion
1:31 – Slowing down multiple clips in ONE step!
Please bestow a ♥ like or leave a ✉ comment if you have questions!
UPDATE: Added 30p to 24p conversion method below (otherwise referred to as the ‘dreamy’ slo-mo effect). Also added some example links.
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To calculate the speed at which your footage should be at, just divide the OUTPUT frame rate by the ORIGINAL FOOTAGE frame rate. For example:
OUTPUT frame rate / ORIGINAL FOOTAGE = percentage of slowdown. In this tutorial example,
23.976
divided by
59.94
equals
0.40
The quotient (0.40) is your percentage (40%).
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NTSC Scenarios:
Project: 24p (23.976 fps)
Unedited footage: 60p (59.94 fps)
Desired output: 24p overcranked (slowmo)
Method: The method in the tutorial explains this scenario. (23.976 timeline, drop 60p footage in, set speed to 40%, export as 23.976 [24p])
Project: 24p (23.976 fps)
Unedited footage: 30p (29.97 fps)
Desired output: 24p overcranked (‘Dreamy’ slowmo)
Method: 23.976 timeline, drop 30p footage in, set speed to 80%, export as 23.976 (24p)
Project: 30p (29.97 fps)
Unedited footage: 60p (59.94 fps)
Desired output: 30p overcranked (slowmo)
Method: 29.97 timeline, drop 60p footage in, set speed to 50%, export as 29.97 (30p)
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PAL Scenarios:
Project: 25p (25.00 fps)
Unedited footage: 50p (50.00 fps)
Desired output: 25p overcranked (slowmo)
Method: 25.00 timeline, drop 50p footage in, set speed to 50%, export as 25.00 (25p)
Project: 25p (25.00 fps)
Unedited footage: 60p (59.94 fps)
Desired output: 25p overcranked (slowmo)
Method: 25.00 timeline, drop 60p footage in, set speed to 41.7%, export as 25.00 (25p)
Audio: Audacity + Zoom H4n + Redhead Windscreen
http://devowe.com
I thought I would change things up a bit (I am itching to go skiing again this season!!). Hope you like it.
It was very dark and extremely windy that night! Watch this eerie dark trip down a run at Brighton Ski Resort in Utah. Windy like a blizzard. That’s my dad skiing ahead – I used my tripod as a stabilizer.
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Canon EOS 7D, shot in 24p
Canon 17-85mm IS
Zoom H4n
Redhead Windscreen (Gunmetal)
Manfrotto Tripod as a ‘stabilizer’ :)
HDR-like color correction in Premiere.
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H4n audio spruced up with Premiere’s compressor. The H4n did well with the Redhead Windscreen. It was very, very windy out (the video doesn’t do it justice) – yet the Redhead really held up. Snow was piling up in my lens hood, and the Redhead was CAKED in white flakes. Later, I shook it off and let it air dry. I thought for sure it would get ‘matted’, but it nearly returned to its original fuzziness after it dried. redheadwindscreens.com
I shot in these blizzard conditions with my 7D, Canon 17-85mm IS lens, Olympus Zuiko f1.8 50mm manual lens, H4n, and Redhead windscreen for approximately an hour. During that time, I changed lenses in the snow and the 7D had no problems. The LCD screens on both the 7D and H4n were ghosting, but were still fully functional. The temperature was around 20º.
-Michael
Since my last video, I wanted to test the Audio Technica ATR-3350 connected directly to the microphone jack on my Canon 7D DSLR. Here is a quick test of the audio quality.
Notice the audio levels are extremely high and my voice is distorted. Using the ATR3350 connected directly to a DSLR is not a very good option at all unless you have Magic Lantern for the 550D (T2i), 5D Mark II, or other DSLR.
With Magic Lantern, you can control the gain control. Since the 7D has automatic gain control (AGC), the levels are blown way out to -0db.
☞ PROS:
✏ Convenient way to have on-talent audio without extra equipment
✏ Could work very well with a DSLR that has the Magic Lantern firmware hack (Such as the Canon 5D Mark II, T2i, or others)
☞ CONS:
✏ Nearly unusable audio because of the AGC (Automatic Gain Control) on the 7D
✏ Only records to left channel with provided 3.5mm connection (simple solution would be to buy a 3.5mm mono to stereo adapter)
Please bestow a ♥ like or leave a ✉ comment if you have questions!
Audio Technica ATR-3350 connected directly to a Zoom H4n. I needed a affordable lavaliere microphone for some upcoming projects and this one seemed to fit the bill just nicely.
It was very windy out, so it was the perfect day to test the ATR3350 vs the H4n built-in microphones. I am also using a Redhead Windscreen on the H4n. The Zoom H4n was set to Mono mix for both the ATR3350 microphone and the H4n onboard microphones.
☞ PROS:
✏ Extremely affordable (~$20 – Amazon: Audio-Technica ATR-3350 Lavalier Omnidirectional Condenser Microphone
✏ Small microphone (about the size of an eraser)
✏ Long 20 foot cord (could be a con as well)
✏ Solid construction
✏ Comes with 3.5mm to 1/4″ adapter
☞ CONS:
✏ Power pack with switch has a very stiff clip – will only clip onto somewhat thin clothing or belt
✏ Loooong cable
✏ Not a high-end lavalier microphone
☞ Overall: The Audio Technica ATR3350 is a fantastic microphone for under $20 and works extremely well. Best used to replace shotgun microphones in interview situations.
Please bestow a ♥ like or leave a ✉ comment if you have questions!
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