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Formats and platforms are just part of the new and ever-growing lexicon for filmmakers now. The fact is that producers have been looking for ways to deliver their product to theaters with greater ease (and less weight) than stacks of cans of film. While I join the chorus of those who love the organic look of real film, HD and video work are becoming more accepted as the markets chant "Faster! Better! Cheaper!" For up and coming filmmakers, video is the way to get your product shot, edited and screened to advance your career. There are tools to give your video production more of a film look.
"Shutter-bug" was a common term for those who just couldn't take enough pictures. In the last decade, as video cameras are continually pointed at computer screens, the shutter control was seen by many operators as just another "bell & whistle." Now many have found the use of the new shutter's "clear scan" to match the speed of the VDT (video display terminal) invaluable for syncing up and thereby removing the pesky floating line or bar in the viewfinder. But let's look at the old shutter speeds from 1/100 to 1/2000.
These drop a frame of black every-so-many frames to create a sharper image. This is particularly useful in sports photography as we see the action in distinct "rapidly moving still shots," i.e.: motion picture. This is how we can let the viewer at home see the rotating seams of a pitched baseball as it leaves the pitcher's hand moving--curving, sliding or knuckling--towards the plate. We all see what the batter is desperately trying to see. One of the great advantages of the shutter is the sports slow-motion replay.
The advantages/consequences are the effect on the depth of field. We clearly see Kobe Bryant going to the hoop as the background blurs behind him. This adds to the desired 3 dimensional effect. The cost is that focus is even more critical. Also, the higher we set the shutter speed, the more light we require. This takes us to shutter opportunities outside the sports arena.
Ever find yourself shooting in a cramped room? If you can get enough light on your subject, you can employ the shutter to separate the subject from the background (and foreground). If there is no room or time for a backlight, this can be a quick save.
A word of warning: Beware of fluorescent overhead lights. If you leave the overhead fluorescents on, you may come back to the edit bay with an odd strobing over the subject's face. Even properly lit (and not lit), if our subject animates their gesturing hands will appear to strobe across the screen. Even with film on the large projected screen, we've all noticed a stuttering as the camera pans a scene. File this under advantage/disadvantage decision.
Shutter speeds or employing the shutter at all should be considered as part of the overall camera test. It is an element along with lighting, makeup, film-stock lenses and camera that ought to be evaluated in pre-production from the storyboards.
Thomas McKenney is a Director of Photography based in Los Angeles, California.