1 The Director of Photography – an overview

More documents

Recommendations

Info

Lenses 53 Figure 5.3 How viewing distance affects the judgement of resolution 300 DPI and the bottom a resolution of 75 DPI, proving, I hope, that viewing distance is also a critical factor. The conclusion from all this is that a lens that appears sharp may not be so; it is therefore important that you measure resolution and judge contrast – separately. Maximum aperture Let us suppose that you are about to light a picture, during which you do not envisage any scene needing an aperture wider than T3.2. You see the mood of the piece requiring good definition and high contrast
54 Practical Cinematography Figure 5.4 The effect of using different apertures Max Aperture T1.3 Max Aperture T2 Shooting Aperture T3.2 on some scenes, though perhaps not on others. You have decided this because you want to vary the definition between scenes as part of your overall strategy for the visual pacing of the film. You will achieve the variation by the use of filters of different strengths. You might, say, look to Zeiss Super Speeds as your prime lens set. They are truly magnificent lenses. But, if you are never going to open them up beyond T3.2, is this wise? Remember you want maximum definition in some scenes in order to contrast this with others. Let us compare a T1.3 lens and a T2 lens both working at an aperture of T3.2. For simplicity, Figure 5.4 shows a single component lens, but imagine what happens in a compound retrofocal lens containing many elements – things are much worse. As you can see, when both lenses are working at an aperture of T3.2 the light has to go through far more glass in the T1.3 lens than in the T2 lens. Now it should be obvious that the more glass the light has to go through, at any given aperture, the more aberrations are likely to occur. So, why expect a T1.3 lens to give a finer picture at T3.2 than a lens with a maximum aperture of T2? There are strong arguments to say that it won’t. A further disadvantage is that many lenses with maximum apertures of around T1.3 have minimum apertures of only T11, and at T11 they often perform far from their best – imagine how much glass there must be right in the centre of such a lens.A lens with a maximum aperture of T2, on the other hand, will usually stop down to T16 or even T22 – quite an advantage with today’s high-speed films. Telephoto lenses With telephoto lenses all the above remains true, but you have to take depth of field into account in choosing which lens to use.There is little point in trying to do a tricky focus pull on, say, a 300 mm lens at T2.8 if there is any way you can light up to T4 or better. If the shot is going to be a nightmare at T2.8, you might be better to swap to a higher speed film just for that one shot – the extra grain hardly ever shows when it is cut together. So, if you are going to try and avoid shooting at T2.8 with your 300 mm, why order such a fast lens? A 300 mm T4 lens might very well perform better at T4 than the T2.8 lens stopped down to T4 or it might not, you would need to run a test. A telephoto lens is not the same as a prime long-focus lens.Telephoto means the lens has been optically telescoped and is therefore physically
Page 1 and 2:
www.sharexxx.net - free books & mag
Page 3 and 4:
Dedication To the memory of my fath
Page 5 and 6:
Focal Press An imprint of Elsevier
Page 7 and 8:
vi Contents 5 Lenses 49 Artistic de
Page 9 and 10:
viii Contents 17 Testing 146 Why so
Page 11 and 12:
This page intentionally left blank
Page 13 and 14:
Page 15 and 16:
Page 17 and 18:
Page 19 and 20: This page intentionally left blank
Page 21 and 22: 4 Practical Cinematography In early
Page 23 and 24: 6 Practical Cinematography ● If t
Page 25 and 26: 8 Practical Cinematography Nowadays
Page 27 and 28: 10 Practical Cinematography nearly
Page 29 and 30: 12 Practical Cinematography Camera
Page 31 and 32: 14 Practical Cinematography Lightin
Page 33 and 34: 16 Practical Cinematography Figure
Page 35 and 36: 18 Practical Cinematography Film St
Page 37 and 38: 20 Practical Cinematography Technic
Page 41 and 42: 24 3 The camera crew An overview Be
Page 47 and 48: 30 Practical Cinematography The foc
Page 49 and 50: 32 Practical Cinematography be left
Page 61 and 62: 44 Practical Cinematography A B C D
Page 65 and 66: 48 Practical Cinematography size an
Page 67 and 68: 50 Practical Cinematography in my v
Page 69: 52 Practical Cinematography Figure
Page 75 and 76: 58 Practical Cinematography The com
Page 79 and 80: 62 6 Film stock What is film? Rolls
Page 91 and 92: 74 Practical Cinematography its dis
Page 93 and 94: 76 Practical Cinematography Raw sto
Page 99 and 100: 82 8 The laboratory The laboratory
Page 103 and 104: 86 Practical Cinematography make a
Page 105 and 106: 88 Practical Cinematography for wor
Page 107 and 108: 90 Practical Cinematography Film gr
Page 109 and 110: 92 9 Digital intermediates Why turn
Page 111 and 112: 94 Practical Cinematography 1-bit 0
Page 113 and 114: 96 Practical Cinematography camera
Page 119 and 120: 102 Practical Cinematography error
Page 121 and 122:
104 Practical Cinematography Figure
Page 123 and 124:
Page 125 and 126:
108 Practical Cinematography Lighti
Page 127 and 128:
110 Practical Cinematography the au
Page 129 and 130:
112 Practical Cinematography If we
Page 131 and 132:
Page 133 and 134:
Page 135 and 136:
Page 137 and 138:
120 14 Colour temperature What is c
Page 139 and 140:
Page 141 and 142:
Page 143 and 144:
Page 145 and 146:
128 15 Camera filters We use filter
Page 147 and 148:
130 Practical Cinematography in the
Page 149 and 150:
132 Practical Cinematography effect
Page 151 and 152:
134 Practical Cinematography but in
Page 153 and 154:
Page 155 and 156:
138 Practical Cinematography inch a
Page 157 and 158:
Page 159 and 160:
142 Practical Cinematography to the
Page 161 and 162:
Page 163 and 164:
146 17 Testing Why so much checking
Page 165 and 166:
Page 167 and 168:
150 Practical Cinematography If a s
Page 169 and 170:
Page 171 and 172:
154 Practical Cinematography proper
Page 173 and 174:
156 Practical Cinematography If the
Page 175 and 176:
Page 177 and 178:
Page 179 and 180:
Page 181 and 182:
Page 183 and 184:
Figure 19.1 A wide-angle, medium-an
Page 185 and 186:
Page 187 and 188:
Page 189 and 190:
Page 191 and 192:
Page 193 and 194:
176 Practical Cinematography 0.868
Page 195 and 196:
178 Practical Cinematography TV 1.6
Page 197 and 198:
180 Practical Cinematography This m
Page 199 and 200:
Page 201 and 202:
Page 203 and 204:
Page 205 and 206:
Page 207 and 208:
Page 209 and 210:
192 Practical Cinematography encomp
Page 211 and 212:
Page 213 and 214:
Page 215 and 216:
198 22 High Definition - HD Is film
Page 217 and 218:
Page 219 and 220:
202 Index Colour correction (contd)
Page 221 and 222:
204 Index Lenses (contd) Panavision
show all

1 The Director of Photography – an overview

Create successful ePaper yourself

Delete template?

Save as template?