When all is said and done, I should have just bought a DSLR...

XSVpro said:
We would need a native MFT speedbooster to make up for our 2x crop.
Click to expand...

...Or just open up your lens one extra stop when using the SpeedBooster.

How often do people shoot video with the Canon 5D and their lens set to f/1.4 ? ( I suspect it's not very often )
 
mcbob said:
FF+24/1.4 shallowness, IMO, isn't a 'cinematic look,' but a 'Full Frame' look. It has its place, just like any other look, regardless of budget.

What wouldn't I do for a particular look? Risk missing key elements of a developing story futzing around with prime lenses, overheating, moire, unsynced sound, blown focus from poor monitoring, jello, loose or bad device connections, etc. Those are some examples of things I'd rather not do chasing a certain look. Absolutely nothing wrong with making a full frame DSLR work, and commendable when it does, but in the narrow margins within which I typically operate, it's not a sensible risk. Others may have different goals and limitations.

So in summary, no need to feel bad for us who chose 1/3", 1/2", 2/3", and 4/3" cameras for the bulk of our work... because it works fine for us.
Click to expand...

Going back to the talk about the cinematic look being 5D..
If it isn't a night shot or especially aesthetic the normal cinema has f5,6 or more deep dof.

This makes me think of this old thread.
http://www.dvxuser.com/V6/showthread.php?234785-Video-sharp-Film-not-sharp-!&highlight=lord
 
TheDingo said:
...Or just open up your lens one extra stop when using the SpeedBooster.

How often do people shoot video with the Canon 5D and their lens set to f/1.4 ? ( I suspect it's not very often )
Click to expand...

I was referring to the field of view benefit that APS-C sensors are getting from the speedbooster. The 0.71x gives APSC sensors nigh on full frame field of view and depth of field, better in DOF in most cases. M4/3 is going from 4/3 fov to s35 fov which is great but not the same, we would need a dedicated m4/3 speedbooster but from what I read that would exceed the max f/stop of 0.9 that the speedbooster can give you.

I am very happy at the speedbooster news, fov, MFT and DOF benefits but thought to bring up the need of a native speedbooster as this thread is about the DSLR full frame look.

Personslly I can't wait to see how the Samyang Cines look through this adapter on m43, they have great edge sharpness so a boost all over in MFT is great and they now become super speeds!
 
Igelkott Film said:
Going back to the talk about the cinematic look being 5D..
If it isn't a night shot or especially aesthetic the normal cinema has f5,6 or more deep dof.
Click to expand...

That's actually been changing for awhile. Looking at most new series shot on Alexa and on closeups of the face they tend to go quite open.
 
maarek said:
That's actually been changing for awhile. Looking at most new series shot on Alexa and on closeups of the face they tend to go quite open.
Click to expand...

Your right.
I watched Les Miserable yesterday and they went full open, they must have made some sort of record of the actors eyes being out of focus for almost the entire length of the movie.
 
maarek said:
That's actually been changing for awhile. Looking at most new series shot on Alexa and on closeups of the face they tend to go quite open.
Click to expand...

But this is mainly for TV, where they want to call as much attention to themselves as possible. In the feature world films are lit to T4 or T5.6 generally, with T2.8 being considered very wide open and used only at special occasions for an effect. Unless it's a s*%tty director who only worries about being hip and trendy, which will then also shoot everything with long lenses as well, no matter if it fits or not. Or some good directors who want the style for a particular project because it fits and serves the story FOR THIS particular project..
But super shallow DOF is far from being the standard and will probably remain so. Thank God!
 
Rolf Silber said:
I make a silent pray for focus pullers now and then.
Click to expand...

At first I was like, "What is wrong with these focus pullers they hired!" and then I recognized the longer focal length shooting wide open and I realized that having any part of the movie in focus was a feat. :laugh:
 
Adamsenoj said:
it's a s*%tty director who only worries about being hip and trendy, which will then also shoot everything with long lenses as well, no matter if it fits or not. Or some good directors who want the style for a particular project because it fits and serves the story FOR THIS particular project..
But super shallow DOF is far from being the standard and will probably remain so. Thank God!
Click to expand...

Very good! (I won't use one of those "hip and trendy" +1s). When I was at UCLA I was lucky enough to take a graduate semimar with a famous cinematographer. He said that if the audience leaves the theater talking about the cinematography, you've failed in your job as a DP. The photography needs to serve the story, not reflect some current fad.
 
Last edited:
Gary Huff said:
At first I was like, "What is wrong with these focus pullers they hired!" and then I recognized the longer focal length shooting wide open and I realized that having any part of the movie in focus was a feat. :laugh:
Click to expand...
another +1
 
You must log in or register to reply here.
Back
Top