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Stuart Brereton

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About Stuart Brereton

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  1. In narrative work, it’s common practice to check, and if necessary, clean the gate after after every good take.
  2. If the crop factor, or sensor size changes, the FoV changes. The two are interconnected. I think you are confusing Field of View, which is dependent on sensor size, with Angle of View, which is not. Lenses often have an image circle substantially larger than the format they are designed for, particularly ‘long’ lenses (that is to say long for that particular format). in any case, I think you are getting confused by image circle and FoV. As long as the image circle is larger than the sensor, it’s immaterial how much bigger it is.
  3. It’s only confusing because people imagine that a lens has an innate FoV due to its focal length, whereas it is entirely dependent on the size of the sensor that it is attached to. You’re right in saying that you wouldn’t use a lens in same way when switching between formats. Using a 25mm lens on FF would give you a very different FoV to using it on s16, but that’s exactly the point. The lens doesn’t change its focal length, but the FoV does change.
  4. A 50mm lens is a 50mm lens, regardless of the format it is designed for. You could put that Signature prime on any format from Super 8 to Full Frame. Its focal length does not change. What does change is the Field of View. On Super 8, a 50mm is a long telephoto lens, on s35, it's standard, and on FF it's slightly wide angle. Try drawing a circle. That's the lens image circle.The lens's image circle is everything the lens "sees". Now draw a FF sized box inside the circle. That is everything the FF sensor "sees". If you then draw a s16 sized box inside the circle, you can see that it "sees" less of the circle than the FF box, and therefore has a narrower Field of View. A super 8mm sized box would see even less. The field of view changes with each sensor size, even though the focal length of the lens stays exactly the same.
  5. When the movie business is slow here in LA, we occasionally use them as a river. 😉
  6. Sony S log and ARRI Log C are very similar, both being based on Cineon. The color science will be different, obviously, but that should be something a competent colorist can deal with. The main issue is likely to be noise, as the FS7 is noisy at its native ISO of 2000. Most people rate them at 800 iso to clean the shadows up, but it does mean that you’ll lose 1 1/3 stop of highlight detail, so keep an eye on hot highlights as they’ll clip a lot sooner than they would on the Amira.
  7. Your best bet for photometric data is likely to be the globe manufacturer. Ushio are one brand in the US.
  8. E27 means 27mm Edison screw, Also known as a medium base bulb fitting in the US. B22 is a 22mm bayonet fitting, as used in the UK
  9. Many TVs allow you to adjust picture settings input by input. Are you sure that the settings were the same for both the browser and the tv inputs?
  10. Does it have to be a corn bulb? If all you want is high CRI LED with a E27 base, why not try the Quasar Science A-Series light bulbs? 3 different color temps, 12w and dimmable. Those corn lamps usually have terrible color reproduction
  11. Obviously people are using slow shutter for creative purposes. I just have a hard time believing that it's being commonly used to compensate for poor lighting. Back in the F900 days, when shooting night establishing shots, it was fairly common to switch the shutter off to get an extra stop of exposure. It worked very well, but you had to make sure there was little or no movement in the frame. I haven't needed to do it in years, and I haven't heard of anyone else doing it either for anything other than creative reasons.
  12. Could you give examples of this? I've haven't seen anyone doing it, except under special circumstances, certainly not as an excuse for poor lighting. Maybe it's something that kids with camcorders do when they don't have enough light, but I've never heard of professional DPs doing it.
  13. I think the excessive motion blur in the Michael Mann films was down to them being early digital movies, when cameras were much slower. Shooting in available light at night meant large amounts of gain, but also wide shutter angles.
  14. Presumably your adapter had some sort of bellows focus, as the RB67 lenses lack internal focusing. This would make for quite a cumbersome arrangement for motion picture work.
  15. This is true, but it may be at least partially offset by the fact that lenses made for larger formats tend to be less sharp. This was certainly the case in the stills world.
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