Circle of Confusion for Super 16

[Robert Edge]

I'd appreciate knowing what value participants in this site tend to use for super 16 footage intended for broadcast on television. If you use a range of values, comments on the variables you take into account would also be appreciated.

[Robert Edge]

Bump...

 

Surely someone has a view on this. If not, does anyone know what any of the TV shows that are shooting super 16 are using as a c of c?

 

Thanks.

[John Pytlak RIP]

I'd appreciate knowing what value participants in this site tend to use for super 16 footage intended for broadcast on television.  If you use a range of values, comments on the variables you take into account would also be appreciated.

<{POST_SNAPBACK}>

 

Some discussion of Circle of Confusion choice for Super-16:

 

http://www.mvwire.com/dynamic/article_view.asp?AID=11092

 

http://www.issues-mag.com/Sept_Oct/frameSe...ment=technology

 

http://www.ebu.ch/CMSimages/en/tec_doc_t3249_tcm6-10522.pdf

 

http://www.edward.grabczewski.btinternet.c...Cine_Charts.htm

 

(suggests TV: 1/1500 inch, Theatre: 1/3000 inch)

[David Mullen ASC]

The reason none of us has an opinion on it shows you how little practical importance it has, in terms of using a DIFFERENT CoC for Super-16 versus 35mm. Even the ASC Manual just uses one DoF chart for both formats.

 

CoC is used for calculating depth of field, and depth of field is used to know whether something is in acceptable focus when the focus is not on it -- and what's "acceptable" will ALWAYS be subjective.

 

There's no true hard line where something is acceptably sharp and then obviously out-of-focus, so I find any depth of field calculation or chart to only be an approximation anyway. You'd almost do just as well if you simply guessed by looking through the viewfinder and said "well, that looks acceptably in focus..."

 

Even CoC is not completely an objective concept. Many DP's feel that an older Cooke will create the effect of more depth of field compared to a modern Zeiss, which more clearly separates what's in and out of focus. In other words, if the lens is soft, then it's harder to see the transition from in-focus to out-of-focus.