tackyattack
Active member
What parts of Black Swan was filmed on the 7D?
What parts of Black Swan was filmed on the 7D?
- Thread starter tackyattack
- Start date
PappasArts
Veteran
The subway scenes. You can tell right away too. The 7d is no match for modern day S16mm. More grainy then the 7d, however 16mm core resolution over the 7d was very apparent.
Pappas
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Pappas
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dust'n the callipygous
Well-known member
Yeah some of the subway close ups were hard to tell, but the scene with Natalie portman and the old man on the subway looked noticeably soft.
Eric Boellner
Well-known member
I knew going in that some was shot on the 7D, but I didn't notice which parts, even though I saw it on a digital projector.
I think for a lot of people on here, it is probably noticeable (not to me, as my eye is of yet untrained), but I doubt anyone who's not heavily into filmmaking would notice a difference.
I think for a lot of people on here, it is probably noticeable (not to me, as my eye is of yet untrained), but I doubt anyone who's not heavily into filmmaking would notice a difference.
chrismagicc
Well-known member
I noticed the subway scenes seemed soft. I heard that they were shot on the 7d (for dof purposes) but was wondering why the director and or post staff didn't sharpen the footage? I am sure they could have made it look sharper!
other than that it cut really well with the s16. All my friends had no idea and didn't believe me! that's good enough for me!!!
other than that it cut really well with the s16. All my friends had no idea and didn't believe me! that's good enough for me!!!
Ben_B
Veteran
It was shot on the 7D for low-light and for the stealthy documentary natural factor (over 16mm.) It was shot on the 7D over the 5D because he wanted deeper DOF. Mostly used a 24mm lens stopped down as far as he could. I read this somewhere...
M. Gilden
Canon DSLR Moderator
That's odd- the 7D would get deeper DOF? Why, because of the cropped lens? Wouldn't it have been more effective to longer lens on a 5D for the same effect? Maybe I'm just not understanding the difference... fascinating stuff!
speedjunkie
Well-known member
They Graded the 7d and added film grain. most if not all of the subway scenes are 7d.
speedjunkie
Well-known member
they also shot it on the 7d because they dint want to pay for permits. it was all done Guerrilla style, and all of the crew and actors during those scenes were instructed to go there separate ways if asked about filming.
speedjunkie
Well-known member
They were shot with L series Lenses.
speedjunkie
Well-known member
Technical Specifications
[SIZE=-1]Color info:[/SIZE]Color[SIZE=-1]Sound mix:[/SIZE]Dolby[SIZE=-1]Camera:[/SIZE]Arriflex 16 SR3, Zeiss Ultra 16 Lenses / Arriflex 416, Zeiss Ultra 16 Lenses / Canon EOS 5D Mark II, Canon L-Series Lenses / Canon EOS 7D, Canon L-Series Lenses[SIZE=-1]Laboratory:[/SIZE]Technicolor, New York (NY), USA[SIZE=-1]Negative format:[/SIZE]16 mm (Fuji Eterna Vivid 160T 8643, Eterna Vivid 500T 8647) / Digital[SIZE=-1]Process:[/SIZE]Digital Intermediate (2K) (master format) / HDTV (1080p/24) (source format) (some scenes) / Super 16 (source format)[SIZE=-1]Printed format:[/SIZE]35 mm (anamorphic) (blow-up) (Fuji Eterna-CP 3513DI) / D-Cinema[SIZE=-1]Aspect ratio:[/SIZE]2.35 : 1
[SIZE=-1]Color info:[/SIZE]Color[SIZE=-1]Sound mix:[/SIZE]Dolby[SIZE=-1]Camera:[/SIZE]Arriflex 16 SR3, Zeiss Ultra 16 Lenses / Arriflex 416, Zeiss Ultra 16 Lenses / Canon EOS 5D Mark II, Canon L-Series Lenses / Canon EOS 7D, Canon L-Series Lenses[SIZE=-1]Laboratory:[/SIZE]Technicolor, New York (NY), USA[SIZE=-1]Negative format:[/SIZE]16 mm (Fuji Eterna Vivid 160T 8643, Eterna Vivid 500T 8647) / Digital[SIZE=-1]Process:[/SIZE]Digital Intermediate (2K) (master format) / HDTV (1080p/24) (source format) (some scenes) / Super 16 (source format)[SIZE=-1]Printed format:[/SIZE]35 mm (anamorphic) (blow-up) (Fuji Eterna-CP 3513DI) / D-Cinema[SIZE=-1]Aspect ratio:[/SIZE]2.35 : 1
speedjunkie
Well-known member
Tim Joy
Veteran
I saw it on a big screen, (film projection) and I thought it held up extremely well. It was a little softer than the film parts but I knew beforehand so I was really pixel peeping. If I hadn't known, I might have though that it was a little out of focus. I'm sure the difference would be more noticeable for a film done on 35mm though.
speedjunkie
Well-known member
http://www.theasc.com/ac_magazine/December2010/BlackSwan/page1.php all your answers to questions about this Film from the ASC side
Eric Boellner
Well-known member
I think maybe you're confusing deeper DOF with more shallow DOF - deeper DOF means more is in focus. The 7D gets deeper DOF because of the image sensor. A longer lens would have had more shallow DOF, and the 5D has more shallow DOF than the 7D regardless.
"What about noise???"
Noise and other technical problems tend to get wildly overblown here (and at similar forums). Hundreds of films/TV shows each year are made (and more importantly, sold) on cameras that most people here would crap all over. The grain structure of S16 is still pretty high (I know, I've shot with it), but that didn't stop a film like LEAVING LAS VEGAS from wining several awards, including an Oscar. The 7D sensor size closer to film size of S16, thus a more similar DOF.
Noise and other technical problems tend to get wildly overblown here (and at similar forums). Hundreds of films/TV shows each year are made (and more importantly, sold) on cameras that most people here would crap all over. The grain structure of S16 is still pretty high (I know, I've shot with it), but that didn't stop a film like LEAVING LAS VEGAS from wining several awards, including an Oscar. The 7D sensor size closer to film size of S16, thus a more similar DOF.
dust'n the callipygous
Well-known member
speedjunkie
Well-known member
ISO 1600 on L series Glass is not that bad, they ended up added Grain and Color grading the Footage and Moire and other artifacts in Post.. in other words they messaged it.