Capturing those last few moments in slow-mo allows the viewer to explore every facet of their deaths, while also feeling the intensity of every bullet. In doing so, those details achieve significance. Palmer uses several Scorsese films to exemplify this principle.
My favorite example is this scene from Casino. As he watches her toss mounds of chips up in the air, time comes to a complete standstill.
During these drug-induced sequences, the entire film slows down to reflect their heightened emotional and mental states. Slow-mo is just one technique in your filmmaking toolbox. Can you think of any other recent uses of slow-mo that were particularly unique or inspiring? Deadpool is my first thought! Create robust and customizable shot lists. Upload images to make storyboards and slideshows.
Filmed hand held with the crew running through the gardens with the actor, the shot captures the freedom of exploring the property. If you would like to work with us on your next project, then get in touch. We are Sorry… It appears your browser is not compatible with some of the features we want to deliver to you. Continue Anyway? Upgrade Browser. It's not the most obvious choice of words. That said, it isn't a difficult technique to understand. To view any event in slow motion we can simply play back the frames of film or video footage at a slower speed than they were recorded, and that's possible no matter what speed they were shot at.
Most people will be aware, though, that recording a scene at 24 frames per second and playing it back at six might give you a slow motion effect in which everything takes four times longer to occur, but it won't give you an illusion of fluid motion.
Even if we take 24fps as our benchmark for smooth motion it's clear that we can't produce convincing, fluid slow motion simply by slowing down playback; instead, we need to shoot more frames to begin with, which is where the phrase high speed comes from. A camera such as the Sony FS will shoot at fps which, when played back at 24fps, results in things moving at one tenth the usual speed. So far, so straightforward, but it's this requirement to record scenes at very high framerates that makes this an interesting issue.
It wasn't long ago that merely shooting HD resolutions at normal frame rates was a technological challenge, so it should be clear that doing the same thing at high or very high frame rates can still present problems that are only solvable with technology that's exotic and rare enough to be expensive. Back when this sort of work could only be done on film, at least at resolutions suitable for theatrical release, costs were ferocious, with 35mm film stock thundering through the gate at a rate sufficient to make the production accountant whimper like a frightened puppy.
The very first device directed at filmmakers which was capable of shooting video at rates significantly in excess of those used for broadcast TV was probably the Panasonic Varicam.
While limited to p resolution, it offered rates up to 60fps, suggesting it was aimed at sports coverage, which is often broadcast at p This was useful for music videos but not much to write home about if you happen to be making a sequel to The Matrix.
Panasonic's later HVX camera was widely viewed as the affordable, low-end equivalent to the Varicam, and was widely purchased for its 60fps capabilities even though it was otherwise not famous for producing excellent images. Now, the FS and the Canon C are among the first non-film cameras to offer what we might call proper slow motion in a package that costs less than a very nice car, and we can probably expect to see a rash of slow motion on Vimeo over the next year or two, much as very shallow depth of field was perhaps a bit more popular than it should have been after the Canon 5D mark 2 became popular.
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