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Found 8 results

  1. The novel Cinefade VariND has been available for over a year now and there are some great examples of how cinematographers have used the variable depth of field effect in narrative storytelling and commercials (Examples). It's still a new effect though and I'm wondering how else you would use the Cinefade in your post-covid projects? Reveal a bad guy lurking in the background by extending depth of field? Combine with a Dolly Zoom effect? Let's get creative...
  2. How do you deal with the drastic change in lighting when doing an interior to exterior shot (handheld, Steadicam, gimbal etc) without riding the iris so depth of field remains constant (Example)? Are there any good professional variable ND filters out there besides the Cinefade VariND and maybe the PV LCND?
  3. Hi everybody, I apologize in adavence if the question is silly but: I know that the bigger the sensor the shallower the depth of field is, but does that translate in digital related to the resolution of the camera? To be clearer, on the same camera, for example an alexa super 35mm cmos sensor, shooting 3.2k or 2k or standard HD is it gonna effect the depth of field? Thanks for the help!
  4. hey everyone - first post here! so i thought i'd ask a question that has baffled me for years.. and might have a very simple explanation (i'm a professional cameraman who has been doing this for a decade, so i'm a little embarrassed to be asking): quite often in both large scale TV and film productions i'll notice on CUs of actor's faces with shallow DOF that the focal point is a good inch behind their eyes - the tops of the actor's ears are tack sharp, but their eyes and face are slightly softer. when i first started noticing this i assumed it was a mistake / sloppy focus pulling, assuming that an actor's eyes should always be their sharpest feature in a close up, but then i noticed this "technique"(?) more and more often and realized it must be intentional. it occurred to me that DPs might be going for a soft focus effect on the face because it's more flattering on the subject, but then .. why is this an effect i see so inconsistently, even within a particular film? curious how obvious of an answer this might be. be gentle, i'm self taught and never went to proper film school.
  5. Hi guys, when shooting with diopters the other day I noticed that you can actually not focus objects in a distance, only close and middle range distances. What is the proper mathematical/physical explanation for this? I know that diopters bring the close focus "closer" but why can't one focus throughout until infinity? And is there a way to determine the "maximium focus" (opposite of close focus) ? Let's say you're shooting with an ALEXA 16:9 2K with a 50mm f2.8 and a diopter 1.....apparently close focus will be 1m but can I predict the "maximal" focus? Would be handy to know. And does it change according to lens, format, f stop? If a diopter 1 brings the close focus to 1m - does that apply to any focal lenght? Hard to believe... Thanx for your input :) M
  6. Is there such a filter that allows you to focus only on small part of the frame, (not necessarily in the middle, using a very wide lens (and working with f/stop around 2.8)? any experience with any of these filters? the scene is the following: frontal shot of the nurse holding a big siring, I want to focus on the big distorted needle in the very foreground, blurring the rest of the image, and being able to rack focus to the character. Can I do it with a filter on set and not in post? thank you so much :)
  7. I'm curious if anyone knows of an example of this technique used in a film. I've read that it's used in the movie Speed RAcer, but I've yet to see that movie. I know it's kind of a lame reason to want to watch a movie, but now I want to see it just to see how this effect plays on screen. For those who aren't familiar with the concept; Let us imagine a shot in which a character is rather close to the lens in about a MCU. The focus is on him, we're at a F/1.4 or maybe a F/2 with an Variable ND 2.1 in front of the lens. Two shadowy figures walk up behind our foreground character and stand to his left and right, also facing the camera. As one of the shadowy figures begins to speak, we seamlessly iris rack to F/22 or F/16 while simultaneously opening up the variable ND to as clear as it will go (in a perfect world it would be totally clear, but maybe the best we'll get is a ND 0.3) This would increase the depth-of field so that now the shadowy figures are in focus, as well as our main character in the foreground. So, if you know of any example of this type of effect, please let me know. Also, if you know of some apparatus that would make this a smooth transition, let me know. I'm imagining some gear or rod that would connect the iris to the variable ND so both can be pulled simultaneously. Cheers, and thanks.
  8. I'm attempting to film a practical of a company leader and need some help with calculating the size of the various layers. What we're trying to accomplish is this: a camera will track a half moon/crescent shape. In front of it are about four layers that when combined make up our logo. As the camera moves from the side/start position to the middle/end position the layers line up and form the end image. my question is this: since the layers are different lengths away from the camera/lens how do I calculate how large to print each layer. I assume the layers closest to the camera have to be proportionally smaller than the back layers, correct? any help would be appreciated. Thanks!
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