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exceptions:
some european countries shoot at 25 frames per second for television
applications if their broadcast system is pal type
film is occasionally shot in the us at 30 frames per second for television if
it is desired that the film frame rate match exactly the ntsc television frame
rate
special applications, like slow-motion cinematography will use higher frame
rates
a shooting ratio is simply the footage shot divided by the length of the final
cut film. for example, if a typical feature film is cut to 10,000 feet and
250, 000 feet were shot, the shooting ratio would be 25 to 1. there is no
standard shooting ratio, though we receive many telephone calls from neophyte
filmmakers asking us what is typical.
let�s discuss sound for a moment. nowadays, a device other than the camera
records sound. it may be a specialized portable tape recorder, like the nagra, a
precision on the tape along with the sound record. by doing so, if the tape
speed varies slightly during the recording, the crystal signal records this
information, making it possible to correct it later. prior to the nagra
recorder, sound had to be recorded on magnetically coated film stock on a much
larger machine with cables running from the camera to the sound recorder for
sound sync information.
another modern way to record sound is with a dat; a digital audio tape recorder,
whose internal clock mechanism makes ancillary timing devices unnecessary.
after the film is developed, the sound record is transferred to magnetic film of
the same width as the camera film (16 or 35mm), to allow for physical cutting in
a synchronizer, a device with two or more sprocket wheels locked together by a
metal shaft, to maintain synchronization. there are many variations on this
theme; some sound tracks remain in their digital form throughout production, and
are edited electronically.
s. garfinkel revision 6/00
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