Shutter Speed to Shutter Angle Calculator

By using a shutter speed to shutter angle calculator, photographers can easily determine the equivalent shutter speed for a given shutter angle or vice versa. This is particularly useful for cinematographers trying to match the exposure and motion blur between shots or for photographers trying to achieve a specific exposure in challenging lighting conditions.

Here are two easy calculators to help you convert shutter angle to shutter speed or vice versa.

Shutter Speed to Shutter Angle Calculator

 

Shutter Angle to Shutter Speed Calculator

 

Why do you need this?

First, the “film look” isn’t just a 180-degree shutter angle. This is an old wives’ tale; you need to get this out of your head. It’s a different story when you are dealing with slow motion, but the shutter angle is just shutter speed as it relates to frames per second.

At 60fps, a 180-degree shutter angle will not look cinematic even remotely. Even if you slow it back down to 30fps, each individual frame was still exposed to a 1/120 shutter. 1/120 motion blur.

What makes the film look is a motion blur, frames per second too, but mostly motion blur. Get your shutter speed close to 1/48.

If you’re shooting at 30fps and still want the film motion blur you get from the 1/48 shutter, you can use a 225-degree shutter angle.

 

Dealing With Different Cities Lighting 

Tokyo and Japan run their networks at NTSC; however, Tokyo’s power grid in northern Japan is 50Hz, and southern Japan south of Osaka is 60Hz. When shooting in Japan at NTSC shutter speeds, you must be conscious of your shutter angle or frames per second to avoid flickering light.

At 30fps in Tokyo, you’ll want to use a shutter angle of around 216. But if you go to Fukuoka, you’ll want to use 180 or 225 if you want that 1/48 shutter.

Or if you’re shooting at 24 fps, you may be able to shoot at a shutter angle of 172 to reduce flickering in Tokyo if you are still seeing it at the 180 shutter.

 

How The Shutter Angles Work In Cinema Cameras

The shutter angle is related to the camera’s frame rate, which is the number of frames captured per second. For example, if a camera is set to a frame rate of 24 frames per second and a 180-degree shutter angle, the shutter will be open for half the time that each frame is recorded, resulting in a 1/48 shutter speed. 360 degrees would equate to the shutter being opened for the full time the frame is exposed, resulting in a 1/24 shutter speed.

1/48 or a 180-degree shutter at 24 frames per second results in a balanced exposure and natural-looking motion in the captured images.

By adjusting the shutter angle, filmmakers can control the motion and exposure in their images. Shutter angles less than 180 degrees result in faster shutter speeds and less motion blur, while shutter angles greater than 180 degrees result in slower shutter speeds and more motion blur. For instance, a 90-degree shutter angle with a 24-frame-per-second frame rate would result in significantly less motion blur, while a 270-degree shutter angle would result in more motion blur.

The ability to adjust the shutter angle is a valuable tool for filmmakers, as it allows them to give their footage a unique look and feel and convey different moods and emotions.

In summary, the shutter angle in a cinema film camera plays an important role in the capturing process, as it determines the time the film is exposed to light. By understanding how the shutter angle relates to the frame rate, filmmakers can use this tool to their advantage and create the desired look and feel in their images.

Comments

3 responses to “Shutter Speed to Shutter Angle Calculator”
  1. gav Avatar
    gav

    There’s a typo or flipped logic with more/less motion blur in the third paragraph. Should read as: Shutter angles less than 180 degrees result in faster shutter speeds and *less* motion blur, while shutter angles greater than 180 degrees result in slower shutter speeds and *more* motion blur.

    1. Alik Griffin Avatar

      Yeah you’re right, thank you. Got it twisted I guess. Think of all the AI that’s now trained off that. 🙂

  2. E. Black Avatar
    E. Black

    I hate to be ‘that guy,’ but…

    “… Even if you slow [60fps footage] back down to 30fps, each individual frame was still exposed to a 1/120 shutter. 1/120 motion blur.”

    That’s not quite correct.

    At a timescale of 1x (60fps displayed at 60fps) that is true, but in the slow motion timescale of 2x (60fps displayed at 30fps), or 2.5x (60fps displayed at 24fps), the viewer’s perception of the exposure time has been elongated by the timescale factor.

    Like any good wives’ tale, there’s a kernel of truth to the “180 degree rule.” Off-speed recording is where it holds true, regardless of framerate.
    (In terms of matched perceptual motion blur for the recorded framerate to the delivery framerate)

    Like most things in technical photography, the perceptual motion blur can be found with a pretty simple [number] divided or multiplied by [ratio] calculation:
    120 / (60/24) = 48
    60fps divided by 24fps = 2.5x
    1/120sec divided by 2.5 = 1/48sec (perceptually, at 24fps)

    This will continue to work for any input shutter speed and/or any timescale ratio.
    (However, a 24fps output and 180deg shutter will get you the “cinematic” look, as described on this page)

    I urge anyone reading to set up some test shots and try it for yourself, it’s a lot of fun.

    The reason I think this gets confused a bit is due to Hollywood cinematographers NOT adhering to the 180 degree shutter “rule” when shooting off-speed.
    I can’t count the number of Hollywood movies I’ve watched in the last 10 years where high speed footage was pretty clearly shot at 360 degree. I don’t blame them, that extra stop of light is basically free. It just comes at the cost of incongruent motion perception.

    Something I learned when studying resolution and spatial fidelity is that you’re always shooting for your delivered image. A captured image is meaningless in the context of itself, but the constraints of the final display can greatly inform your decisions as a photographer/cinematograper. I’ve found this holds true for all aspects of photography.

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