Closing Titles: Superimposed on a special background or sometimes on the last scene of a movie, the words "The End" fade in (with the font varying depending on the movie) with the following text: "Released through Twentieth Century-Fox Film Corporation", "Released by Twentieth Century-Fox Film Corporation", "Produced and Released by Twentieth Century-Fox Film Corporation", or "Produced and Distributed by Twentieth Century-Fox Film Corporation".
Logo: A redone, more realistic version of the 1994 logo. This time, it is in a dark/orange evening environment. When the structure is in its distance, we can see an extra searchlight and a pair of palm trees on the bottom right hand corner.
Speed 1994 Movie Mp4 20
Film festivals allow you to get way ahead on your movie viewing. At Sundance, Cannes, Telluride and Toronto you can see movies that will be released throughout the coming year and into the next. That's what Roger Ebert does every year, and here are some of the movies he's already written about for the next few months, into November....
The Sony A77 records at three different video resolutions, and can record high-definition movies in either AVCHD or MPEG-4 formats. Stereo audio is recorded during movie capture, encoded as Dolby Digital (AC-3) for AVCHD and AAC-LC for MPEG-4. No spec is provided for the sampling rate of the audio tracks, though video players report 48 kHz at 256 kbps for AVCHD and 48 kHz at 128 kbps for MPEG-4.
Sony recommends use of a Memory Stick PRO Duo or PRO-HG Duo Mark 2 card, or SD / SDHC / SDXC Class 4 rated memory cards for movie recording, to ensure that card write speed isn't a limiting factor in clip length. (Slower cards will likely still work to some degree, but with a reduction in clip length, especially in AVCHD mode at the highest bit rates; many competitors actually recommend a minimum of Class 6 SD cards.)
There are, however, some catches. Perhaps most significantly, the Sony A77's autofocus functionality during movies relies on the lens aperture being kept at or near the open position, and for this reason, manual or priority exposure control isn't available when autofocusing is enabled during movie recording. Since smaller apertures can't be used to control exposure, this further means that when autofocus is enabled, a combination of adjustments to ISO sensitivity and shutter speed must be used to control exposure in bright lighting. When higher shutter speeds are selected by the Sony A77's auto-exposure system, the result can be a noticeable choppiness, because each video frame retains less motion blur on moving subjects. (If you're intending to extract stills from your video, though, the reduced motion blur can potentially be an advantage, with moving subjects more sharply rendered.) This issue can be worked around using neutral density filters to bring the shutter speeds back down, but that of course relies on your having the appropriate selection of filters for your chosen lenses.
The Sony A77's phase detection system functions identically for both still image and movie shooting. There are a total of 19 AF points, of which 11 are cross-type points, sensitive to both horizontal and vertical detail. While these points cover a fair portion of the image frame, and it's possible to manually select which point you want to use, they cannot be moved around the frame at will, as you can do with a camera using contrast detection autofocus. (They also don't reach as near to the edges of the frame as is possible on cameras using contrast detection.) Four AF point selection modes are available -- Wide (which automatically selects any of the 19 AF points), Zone (which allows automatic selection either on the left, right, or center of the frame), Spot (which uses only the central, cross-type point), and Local (which allows direct selection of any individual point). The focusing mode and point can be changed during movie capture, useful if your subject is moving around the frame, or you want to direct the viewer's attention between multiple subjects in the scene, but this does involve some handling noise that is likely to be picked up by the on-board mics.
Regardless of the autofocus servo mode selected for still image capture, movies always use continuous servo autofocus, so it isn't possible to manually trigger single AF cycles as desired during movie capture. There is a workaround for this, in that you can simply disable and re-enable autofocus during movie recording, using the physical switch on the lens or camera body, as appropriate. Unless the camera's mounted on a tripod, though, this approach is liable to cause camera shake, and of course the sound of the switch being moved will also likely be picked up by the A77's internal microphone. Of course, it's also worth noting that noise from the autofocus drive mechanism is also likely to be picked up on the audio track, unless using an external microphone mounted remotely, or on some form of shock mount.
The availability of full-time phase detection autofocusing during movie capture remains one of the most significant benefits of the Sony A77's Translucent Mirror design, and while it doesn't provide quite the level of benefit for consumers that it did in its predecessors 18 months ago, you still can't understate the benefit of relatively fast autofocusing without obtrusive hunting. Since its Alpha-mount lenses weren't designed for video, autofocus drive noise is unfortunately quite noticeable, but that's an issue that the Sony A77 shares with most video-capable DSLRs. Probably the biggest issue in the design is the requirement that the lens aperture be held open when autofocus is active, which can result in choppy video when shooting in bright conditions. This, coupled with the inability to place a focus point outside the area covered by the phase detection AF points, are probably the most significant drawbacks of the design. Unfortunately, with the availability of full-time phase detection AF in the A77, Sony continues to choose not to provide any contrast detection AF capability. Given that both methods have different strengths and weaknesses, we'd still have preferred to see Sony offer both systems, allowing the videographer to decide which AF mode was best suited to their subject.
We performed this test at speeds ranging from 10 to 40 mph, across a couple of days, using first the 16-50mm kit lens, and then the 24-70mm f/2.8 Carl Zeiss optic. We thought that perhaps the better lens would improve the AF results, but they were actually somewhat worse. On some of the tests from the first day, the camera did a reasonable job of tracking, but only at 30 and 40 mph, 10 and 20 mph were as bad as seen above.
What makes this all so puzzling is that the camera performed brilliantly when shooting in continuous still-frame mode, tracking focus very accurately across a range of speeds, until the car was very close to the camera and moving very quickly. Why did it do so well in those tests, but fail so miserably when shooting video? It's the same focus system at work in both situations, so you'd think the results would be the same.
While the Sony A77 lets you record movies directly from any of its still-image exposure modes, including aperture-priority, shutter-priority, and full manual exposure modes, the shutter speed, aperture, and ISO settings for video recording are always automatically controlled except when the Mode dial is in the Movie position, and autofocus is disabled. Thus, while the camera's Mode dial might suggest full PASM (programmed, aperture-priority, shutter-priority, and full manual exposure) exposure control for videos, there in fact is no direct control over aperture, shutter speed, or ISO during movie recording. (You are, however, warned that only Program exposure is available in Movie mode, if the lens isn't set to Manual focus.)
When focusing manually, the Sony A77 offers a choice of either completely automatic, Shutter-priority, Aperture-priority, or fully Manual exposure. In the latter, you get control not only of both aperture and shutter speed, but also of ISO sensitivity, allowing complete control over the exposure. Note, though, that the ISO sensitivity range is greatly reduced for video capture, with an upper limit of just ISO 1,600 equivalent. If you want the maximum creative expression, though, the ability to control all exposure variables is great, and as an added bonus you can even change all three during recording, if you're not concerned about handling noise on the camera body. Even if you're not feeling creative, the ability to stop down the aperture is a particularly useful one when focusing manually, providing a means to increase depth of field (and hence, the chance that your chosen subject is in focus.)
Exposure compensation adjustments made in still-capture modes also carry over into movie recording, provided that there's enough light. (That is, if it's too dark, boosting the EV adjustment won't make your video any brighter.) It's also possible to adjust exposure compensation during movie recording, and to lock the exposure level by holding down the autoexposure lock button. (When released, exposure metering and adjustment will immediately resume.) White balance settings also carry over to video mode, as do the metering modes, creative styles, lens corrections, Dynamic Range Optimization, and some picture effects. (Only the Soft Focus, HDR Painting, Rich Tone Mono, and Miniature effects aren't available for videos.)
Shutter speed is one aspect of video exposure we've recently become more aware of. It turns out that slower shutter speeds tend to produce more natural-looking videos than faster ones: The motion blur associated with a slower shutter speed tends to smooth-out transitions between frames with rapidly-moving subjects: Cameras with 30fps recording, but shutter speeds 1/100 second or higher produce somewhat choppy, artificial-looking movie footage, while cameras with exposure curves biased toward shutter speeds in the 1/30 - 1/60 second range show a lot more motion blur, but the end result looks more natural to the eye. The A77 is more prone to this than traditional SLRs and CSCs, because when autofocus is enabled, the aperture must remain at or near its open position to make phase detection AF possible. This results in the exposure level being controlled with only shutter speed and ISO sensitivity, where other cameras might be able to use a slower shutter speed by stopping down the lens aperture as necessary. 2ff7e9595c
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