Darren Aronofsky's Black Swan may have used the 7D for some shots

Anyway we're not talking about the cinematography so much as we are touching the something technical about the image. Sorry if we veered off the main thing I guess this forum is for but this happens all the time to many threads where someone mentions something and then they kind of go off on another note be it technical or not because it is the thought that flows at a given moment.

So if everyone had to stick to sort of a rule you are presenting then they'd have to switch threads everytime afterthought came up.
 
What your saying goes against what every studio photographer is trying to achieve, extracting quality from the image by shooting at its center. Sure every lens performs a little differently, but they physically cannot perform better at the ends, compared to its center. And you realize that a reflection is part of your depth? So lets say we are shooting under f8, being that close we would probably at best get a foot of DOF. So you would get the subway door in focus. He's shooting at f8 to get both his subject and the subway door in focus. There is software to deal with the noise of the high iso, if that is what he needed. I'm pretty sure he knows what he's doing.

I saw the film last night. Glad to see that he is maturing in is ability. I couldn't really tell, but did they apply some kind of fix to the rolling shutter footage?
 
iunknown said:
What your saying goes against what every studio photographer is trying to achieve, extracting quality from the image by shooting at its center. Sure every lens performs a little differently, but they physically cannot perform better at the ends, compared to its center. And you realize that a reflection is part of your depth? So lets say we are shooting under f8, being that close we would probably at best get a foot of DOF. So you would get the subway door in focus. He's shooting at f8 to get both his subject and the subway door in focus. There is software to deal with the noise of the high iso, if that is what he needed. I'm pretty sure he knows what he's doing.

I saw the film last night. Glad to see that he is maturing in is ability. I couldn't really tell, but did they apply some kind of fix to the rolling shutter footage?
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yes it seemed they applied a stabilization to the jerkiness. i filmed with dlsr on NYC subways also and i know what it looks like. definitely seemed like something artificial (high end plugin of some sort) going on. also felt like some post production softening of some sort was going on in natalie portman's face with the 7d footage not to mention the artificial grain. in short, a lot of processing i saw
 
draven4 said:
Yeah that's what happens when you don't shoot right with a 7d. He didn't shoot right. Should have been reading up on how from the people on this site before picking it up for a major motion picture. I would not shoot f8 ISO rated at 1600 unless I absolutely had to. That's a bad choice and it showed. I know he was going for a deeper DOF but for crying out loud, he had an f1.4 lens. Loose the DOF and get some better images especially if it's going to be transfered to film. We've all seen great stuff shot by people on this site if done right after learning how.
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This is where you're totally wrong.

He shot exactly right for the 7d, with the correct t-stop to match the rest of the 16mm footage (remember, DOF needs to be alot deeper!). 5.6 and 8 is normal in narrative work. And as they only used a small LED light for fill in the subway- then ISO 1600 was needed.

A lower ISO rating and a larger aperture would not make the footage look necessarally sharper or "shot right". And there is nothing wrong with their de-noising script and adding of film grain - that looks beautiful - the DOP and Post guys did a fantastic job.


Now why I noticed the 7D shots-

SOFT-NESS:
The 7D/5D/1Ds camera only really has 700 (ish) lines of real resolution (not true 1080) according to the resolution test chart before softening and moire occurs. 16mm resolves at least over twice that.

JELLO JITTER:
They're stealing shots on a subway - no matter how still the frame is- the vibrations are gonna look abit weird even with abit of stabilisation effects done in post.

The only way they could have gotten what they'd wanted, with the small frame factor and budget - would be to have used a hacked GH1 (due to better resolution, deeper focus, less jello)



To re-iterate, although it broke me out of the film somewhat because I'm a nerd - it's not necesarally a bad thing in context with the scenes they were used for... which is, well Natalie Portman being paranoid and scitzy so...
 
cinematography was good in this movie but he didnt get focus right on first 7d shot for sure,later it was ok.Im also not sure if he kept shutter 50,i dont think so.
 
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