Search Results for 'no'

[Mustafa Irshaid]

Hi there,
I’m Wondering how DPs keep a consistent lighting ratio throughout the whole piece.
Or don’t they? I don’t know.
Key to fill or Key to background ratio

[James Parsons]

Pi (1998) — dir. Darren Aronofsky, DP Matthew Libatique

 

[quijotesco24]

Not s35 vs LF but you get the idea on how different formats/sensors and lenses compare.

https://youtu.be/RwgkXcUX984

[Roger Deakins]

The depth of field of a 40mm is the same whatever the size of the sensor. With a standard Alexa you would need to shoot on a 32mm (some say wider) to match the field of view of a 40mm on a Large Format camera. A small adjustment to the iris will not change the ‘feel’ of that lens. The additional latitude and resolution of the LF can be an advantage over the standard Alexa but that would not be my main consideration when choosing one camera over the other. The ‘feel’ of the lens is uppermost in my mind.

[quijotesco24]

I didn’t mention wider lenses have less aberration. It’s the contrary actually.
And this has nothing to do with sensor or film sizes. (Sort of).

It’s quite complex issue and I don’t know much of it, so someone maybe can jump in. The mm of a lens is the actual distance between lens focal point to the sensor right? So the shorter this distance the more complex and big design a lens needs to be related to its sensor/film coverage.
Usually if you take any lens series from any manufacturer out there the telephoto lenses are the higher quality ones (in terms of resolving power, aberrations free, vignetting…). Because it’s easier to create a perfect 85mm than a 27mm. But if all you use/rent are master primes or signature this don’t matter much tbh.
But again. I’m not advocating for perfection or anything. Actually I tend to not use many telephoto lenses myself.
Regarding noise. It depends greatly which cameras are you comparing and what formats, what ISOs are you using. But in general terms to me, bigger sensors have less noise even if you need higher ISOs.

[Rob-Webster]

The new EL system is a fantastic method to standardise how we rate exposure across different sensors.

 

As mentioned before the traditional IRE scale does not correspond equally to logarithmic exposure on each camera system so its not really that useful apart from telling where things are clipping.

[Planet_Coast]

What’s considered a wide lens is not the same when compared full frame to S35 sensor, so I’m not sure what you mean by less aberration on wider focal lengths.

Do you have any specific examples where lens design is better on the equivalent full frame lens? For example, does a 18mm Signature Prime have less aberration than a 14mm Master Prime?

Regarding the noise advantage of a full frame sensor: If you have to stop down the iris to compensate for the depth of field, is there still a noise advantage to using the larger sensor?

[quijotesco24]

The change of camera/sensor don’t only affect the depth of field. So it’s not a matter of opening the iris and change focal length.
There is a change of texture and noise between cameras, to me quite pronounced I must say, apart the resolution one. There is also the fact that it’s not the same a 32mm lens than a 40mm lens. Even if they match angle of view between sensors the lens are different and aberrations/characteristics are different. It’s known the wider you go the more work Lens makers need to do to keep perfection on a lens. So a 40mm will, generally, be better corrected than a 32mm. So bigger sensors take advantage of that too.

I’m not advocating for the large sensor at all. I’m just saying there is more to it than depth of field. Actually I prefer the look of s35 or even s16.

[Planet_Coast]

Hey Roger,

On ‘1917’ you used the Arri Signature Primes which open up to a T1.8. Would the depth of field have been significantly different if you shot on a S35 Alexa and Master Primes at a T1.4?

I’m not questioning your choices, I’m just trying to understand the benefits of shooting full frame digital.

I understand the increased information.

When I said S35 Alexa, I was referring to the older Alexas such as the Alexa XT Studio, Mini etc. and not the Alexa 35 which has a new sensor.

You’re right, I meant closing down the iris to compensate for the depth of field between the LF and the S35.

[Roger Deakins]

I am not sure you can say that the length of the shot is entirely responsible for an audience understanding a film or not. Content and narrative drives the image rather than the image driving the narrative.

[Roger Deakins]

We used the Alexa LF on ‘1917’ because we liked the shallow depth of field as well as the increased information it gave us in comparison to the standard Alexa. The S35 did not exist at that time and we only had a look at that camera when we were in prep for ‘Empire’.

To compensate depth of field between the LF and the S35 wouldn’t it require closing down the iris rather than opening it up?

[Planet_Coast]

Hey Roger,

What are your reasons for shooting on the Alexa LF, or Mini LF, instead of a Super 35 Alexa?

I understand that the LF and Mini LF have lower noise compared to a S35 Alexa, but the larger sensor also means less depth of field. Therefore, one has to open the aperture of the lens to compensate. Do these two not cancel each-other out?

I understand that the LF or Mini LF is required when working with companies such as Netflix that require a true 4K sensor.

[Roger Deakins]

You might want to watch the films of Robert Bresson or Luchino Visconti! There are plenty of films with a similarly controlled camera style but less in contemporary mainstream cinema.

[Roger Deakins]

How to manage consistency? I don’t know what to advise. You decide on the look for the film, a scene or a sequence and then break it down into individual shots. You consider when and how to best shoot each shot depending on the restrictions you have regarding the existing natural light and/or your schedule. consistency is key to immersing the audience in a film and, therefore, a priority for the work of any cinematographer.

[Roger Deakins]

What I did on ‘Empire’ was only an extension of how I always work, choosing practical sources, rigging additional lighting in a concealed way, adding only minimal floor lighting when I have to and always working closely with the art department. What was ‘new’ for me was lighting almost entirely with LED sources.

It may be that lighting becomes entirely ‘controlled’ through an LED wall or some other ‘environmental’ source but that is not something that I see myself involved with.