1 The Director of Photography – an overview
1 The Director of Photography – an overview
1 The Director of Photography – an overview
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60 Practical Cinematography<br />
Figure 5.9 Cropped barrel distortion<br />
Figure 5.10 Chromatic aberration<br />
If either <strong>of</strong> these distortions are present in the lens in use, the degree<br />
<strong>of</strong> distortion c<strong>an</strong> be measured, but more import<strong>an</strong>t is the perceived<br />
degree <strong>of</strong> distortion. You have to look through the viewfinder <strong>an</strong>d<br />
decide if you c<strong>an</strong> tolerate the effect you see.<br />
<strong>The</strong> perceived level <strong>of</strong> distortion is usually a little less th<strong>an</strong> one might<br />
expect, as we are nearly always recording at the film pl<strong>an</strong>e a rect<strong>an</strong>gular<br />
image taken from the centre <strong>of</strong> the circular image formed by the lens.<br />
Figure 5.9 shows exactly the same drawing as Figure 5.8, but cut down<br />
to a 16 � 9 image format.<br />
Although the distortion still looks unacceptable, it now only<br />
appears at its worst at the sides <strong>of</strong> the frame; the overall effect is less<br />
to the eye th<strong>an</strong> in Figure 5.8. If you suspect a lens <strong>of</strong> barrelling then<br />
frame a vertical line, say the side <strong>of</strong> a building, at the edge <strong>of</strong> the frame<br />
<strong>an</strong>d make your own judgement.<br />
Chromatic aberration<br />
Chromatic aberration is the most commonly found aberration in older<br />
lenses. It is rarely found in modern lenses, though one occasionally<br />
finds it in lenses <strong>of</strong> long focal length. It is worth underst<strong>an</strong>ding, as it<br />
displays very clearly one <strong>of</strong> the major problems lens designers have to<br />
overcome; indeed, the correction <strong>of</strong> chromatic aberration was the first<br />
major optical breakthrough in the early days <strong>of</strong> photography.<br />
Chromatic aberration occurs because light with different wavelengths,<br />
or colours, will be diffracted, or bent, by a different amount<br />
after having passed through the air/glass, glass/air path as the light<br />
travels through a lens.<br />
Figure 5.10 shows, in <strong>an</strong> exaggerated form, the effect <strong>of</strong> light passing<br />
through a simple lens. <strong>The</strong> most deviated wavelengths are ultraviolet,<br />
shown as UV in the diagram. <strong>The</strong> least deviated, <strong>an</strong>d therefore those<br />
coming to a point <strong>of</strong> focus furthest from the lens, are the infrared rays,<br />
shown as IR in the diagram. In between, at focus points progressively<br />
further away from the lens, are blue, green <strong>an</strong>d red.<br />
This effect <strong>of</strong> focusing the rays <strong>of</strong> differing colours at different dist<strong>an</strong>ces<br />
from the lens occurs in all simple, single lenses. It has long been<br />
a well-known phenomenon: Sir Isaac Newton believed that it was such<br />
<strong>an</strong> intractable problem that he concentrated on reflecting or mirror<br />
optics for his telescopes, where the problem does not occur as the light<br />
rays never pass through <strong>an</strong>ything but air, thus obviating the problem.<br />
White<br />
Light<br />
Optical<br />
Centre<br />
UV B G R IR