Influence of sensor size on depth-of-field
Sensors come in many different sizes and the size of the sensor has a direct relationship to light sensitivity. Large sensors perform better in low light, and a large sensor creates a more shallow depth of field to the image. The critical factors affecting depth of field is the aperture setting on the lens, the sensor size, and the chosen focal length.
For the cinematographer, understanding the sensor within a camera, is key to producing cinematic images.
It is worth mentioning that the small sensor tends to exhibit more noise than large sensors. Just like 16mm film was more grainy than 35mm motion picture film, a large sensor contains more information than a small sensor and this shows in the low light performance.
There are other considerations which will affect the look and quality, such as recording codec, resolution, and of course lens choice and the aperture you choose to shoot at.
Regardless, sensor size certainly has a major influence on depth of field and low light performance. It is therefore an important consideration when choosing the right camera for the job.
For those filming with smaller sensors it can be difficult, or impossible to suitably throw the background out of focus. This can make producing cinematic looking images difficult, and contributes to what many call the “video look.”
There is a solution to this problem.
By using a dedolight in combination with an imager, one can project an image onto a background, and then throw the background out of focus. The result, when recorded, shows an out of focus background with the foreground subject in focus.
We can therefore simulate the large sensor look with a smaller sensor - this means we can produce cinematic images regardless of sensor size.
As cinematographers our job is to create the look and feel of a scene through all the tools available to us. The tools provided by dedolight, specifically focussing lights in combination with a dedo imager, enables us to project an image on a background, control the focus of the background image, and create truly cinematic results regardless of which camera you are using.
Complex 11 light set-up: how it's done
The scene in this video is lit with 11 separate lights. Each light serves a distinct purpose in achieving the overall result. This short video shows the positioning of each of the lights, what they do, and the different types of lights which have been used.
Dedolight provides the ideal tools for the modern cinematographer to work with. These lights are low in power consumption, easy to carry around, and enable the cinematographer to precisely place light exactly where they wish within the scene. The term "painting with light" has been used to describe the abilities of dedolight and this short film, 11-light set-up, is a good example of the precision of dedolight at work.
The Light in your Eye
In the world of photography, it is well-known the impact the reflection in the eye can have on the image: some call it a catch-light or a sparkle in the eye. In filmmaking, we can greatly enhance the visual appeal by creating reflections in the eyes.
Reflections in the eyes can be the result of the lighting on the face, or, the eyes can be independently lit with lights used to create specific reflections. These reflections can be achieved in different shapes, with attention to the positioning of the reflection within the eyes. Reflections can also be created in different colours. The result achieved is dependent on the type of lights used, the positioning of these lights, and also the curvature on the eye of the subject. Different eye shapes and the colour of the eyes will result in differences with the reflections.
For cinematographers, we can achieve beautiful results and greatly enhance the image by working with the reflections in the eye. This is a deep subject, which *The Light in your Eye* only touches on. The purpose of this film is to inspire those who shoot and light, to spend a little time to look at the reflections in the eye, and how this can be used to effect - and also to provide some insight into how these reflections can be created, controlled and shaped.
*The Light in your Eye* shows many different examples of reflections in the eyes, the effort which has gone into creating the results and the equipment used in the lighting process.
FILMING WITH URSA MINI 4K & 4.6K; EDITING RAW WITH DAVINCI RESOLVE
24/09/2016 - Recorded live at the Amsterdam SuperMeet, September 11, 2016
This video features 2 distinct demos: (i) shooting RAW with URSA Mini 4K and 4.6K (ii) post=production RAW workflow - editing with DaVinci Resolve.
Klaus B. Pedersen is a Danish cinematographer and the Creative Director behind the Swiss-based creative media agency Gaffa Media. Klaus explains why he chose the URSA Mini 4K and 4.6K cameras and how RAW acquisition influenced his workflow.
Simon Hall is a DaVinci Resolve specialist with Blackmagic Design. Simon clearly explains the post-production workflow using Resolve, which involves creating optimized media (low resolution proxy files) which can be worked with while editing. Editing and color correction is done within DaVinci Resolve and when complete, the original DNG RAW files can be matched back to straight away, enabling output at the highest level of qualityl. The ability to work with low resolution files while editing within DaVinci Resolve is a major break-through in terms of simplifying workflow.