Basically, by adjusting the position of the camera instead of focal length, you are bringing the foreground closer while pushing the background further away, thus making it feel more expansive. Inarritu/Emmanuel Lubezki film starring Leonardo DiCaprio. What’s happening here is what Simons describes as “ The Revenant Effect.” Yes, the Alejandro G.
Camera bokeh meaning full#
You’re seeing less than what you’re getting in full format image than the Super 35 image.” In fact, the inverse is happening in the foreground. Notice the wall sconce that we see in the full format but not the Super 35. Take note of the green light on the top and the blue and yellow ones o then bottom. “In the full format image, you can see a bunch of new lights near the top and bottom in the background. “What’s really happening here is in the background and the foreground,” says Simons. The lens used was a ZEISS 28-80mm T2.9 Compact Zoom. The point of the test is to illustrate the difference between full format and Super 35. Super 35 is cropped in-camera and there’s also a Super 16 mode. Spec wise, the Canon 700 FF has a 38.1mm x 20.1mm sensor and a 43.1mm image circle-18.69 megapixels (5952 x 3140) or 5.9K and a pixel size of 6.4 x 6.4 μm. On one end was the Canon C700 FF mounted on dolly track and at the other end sat a model and back drop. Simons setup a live demonstration to help filmmakers better visualize how these different formats can be used.
The other is cinematographer Steve Yedlin’s topic of ‘ Why resolution doesn’t matter.” Both are worth a watch if you haven’t seen them. Two viewpoints on the resolution topic come from Michel Cioni, Senior VP of Innovation at Panavision & Light Iron, where they discussed at Camerimage the difference (and importance) of resolution and sharpness. However, higher resolution doesn’t always mean better. A higher pixel pitch creates a greater distance between the pixels and a lower resolution. The smaller the pitch, the higher the pixel density which yields a higher resolution. If you’re unfamiliar with pixel pitch, it’s the distance between pixels measured from the center of one pixel to the center of the next. Well, maybe one: Don’t have shitty sound. Mix aspect ratios, mix resolutions, mix primes and zooms, mix anamorphic and spherical, mix film and digital. It doesn’t have to be one format throughout the entire process. WHY do we want a shallow depth of field? WHY do we need Steadicam at this moment? WHY do we need this framing?ĭefine your story. Each project should have its own look and its own resonating visual grammar.Īs a director, cinematographer, camera operator, and producer, don’t choose a look because it’s “what Sven Nykvist, Freddie Young, Roger Deakins or what any other cinematographer out there has done." Ask yourself WHY you should choose a certain camera, lens or resolution.
recording a higher resolution like 4K so you can “punch in” or “reframe” during post when you’re delivering in HD or shooting RAW to maximize dynamic range for the color grade. It doesn’t have to be one format throughout the entire process.įormat, resolution, color bit depth, frame rate, lenses and camera type are all tools to tell story.
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