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Alan Kovarik

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Posts posted by Alan Kovarik

  1. On 3/9/2014 at 4:09 PM, brian brookshire said:

    The shot starts about .45 sec. in (never mind the German!) How the hell is this done and esp. in '83 w/ a huge camera? I'm interested in building a rig for my GoPro so any advice or links...is this shot like Hitchcock on the stairs in "Psycho" and Spielberg w/ Brody seeing the shark on the beach in "JAWS"? where the camera dollys in and simultaneously zooms out as I can seem to figure this one out! Thanks in advance.,...

    They used a system of ropes and pulleys for camera movement and sometimes fire service cranes.

  2. But wide shots on IMAX looks more natural and lifelike, because they are less distorted, right?

    I am not sure it is only about the depth of field and wide shots. Even large format portrait or product photography has a specific look.

  3. Can somebody elaborate why a movie shot on IMAX has a different look than a movie shot on a regular 35mm camera? I am not talking about the aspect ratio and screen size (IMAX movies looks more monumetal even on ordinary television).

  4. This is also interesting. Maybe Hitchcock was thinking about this:
    https://en.wikipedia.org/wiki/Optimum_HDTV_viewing_distance#Visual_angle
     

    The ideal optimum viewing distance is affected by the horizontal angle of the camera capturing the image. One concept of an ideal optimal viewing distance places the viewer where the horizontal angle subtended by the screen is the same as the horizontal angle captured by the camera. If this is the case, the angular relationships perceived by the viewer would be identical to those recorded by the camera. A mismatch in this regard is traditionally disregarded, but some rotating motions can make these distortions very noticeable as a pincushion effect. This is likely in 3d video games, so gamers are likely to adopt close viewing positions matched to a game's fixed field of view.

    If the camera's angle were always the same, an optimal viewing distance could be easily calculated. However the camera's horizontal angle varies as the focal length of its lens changes. If the camera's sensor has fixed dimensions, a shorter focal length (wide angle) lens captures a wider angle of view, requiring the viewer to sit closer to the screen. Conversely, a longer focal length (telephoto) lens captures a narrower angle of view, demanding a more distant viewer position.

    Such opposing viewing distances would not only be impractical, but would negate the very purposes of telephoto shots (for example, to see a distant object in more detail, or minimize distortion in facial images) and wide-angle shots (causing the viewer to sit too close to the screen, where undesirable image artifacts would be visible).

    One compromise assumes the lens is "standard" (a 50mm focal length, for a standard 35mm format). A "standard" lens preserves the same spatial relationships perceived by a spectator at the camera location. For a "standard" lens image, viewing distance should be equal to the diagonal length of the screen.

    It has been demonstrated that viewing a display that occupies a greater visual angle (also referred to as field-of-view) increases the feeling of presence.[8] More importantly, the wider the visual angle (to approximately a plateau point of 80 degrees), the greater the feeling of presence.

    190px-Angle_of_view.svg.png
     
    Horizontal, vertical and diagonal field of view.

     

  5. According to this the standard lens for 35mm is 50mm.
    https://en.wikipedia.org/wiki/Normal_lens#Cinema

    http://neiloseman.com/the-normal-lens/

    SMPTE (the Society of Motion Picture and Television Engineers), or indeed SMPE as it was back then, decided almost a century ago that a normal lens for motion pictures should be one with a focal length equal to twice the image diagonal. They reasoned that this would give a natural field of view to a cinema-goer sitting in the middle of the auditorium, halfway between screen and projector (the latter conventionally fitted with a lens twice the length of the camera’s normal lens).

    A Super-35 digital cinema sensor – in common with 35mm motion picture film – has a diagonal of about 28mm. According to SMPE, this gives us a normal focal length of 56mm. Acclaimed twentieth century directors like Hitchcock, Robert Bresson and Yasujiro Ozu were proponents of roughly this focal length, 50mm to be more precise, believing it to have the most natural field of view.

  6. I found this commentary on another forum:
     

    Quote

    While 35mm still cameras have a 24x36mm frame running length-wise on the film, in a
    movie camera the film runs up or down and therefore the frame runs across the film, so
    that, for a 3:2 format, the frame would be 16x24mm and, for a 4:3 format, the frame
    would be 18x24mm. For these two formats the crop factor (measured by dividing the
    diagonal of the 24x36mm :"ull frame" by the diagonal of the two aforementioned movie
    frames, which is 1.4 and 1.5 respectively. This neans that the EFOV of a 50 lens would be
    73mm and 75mm, which is hardly close to human vision. Perhaps a 35mm lens was used.

    Did Hitchcock really shot the whole Psycho with 50mm?

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