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By eatstoomuchjam · Posted
That, and also to set the aperture down to like f/16 or f/22 and shoot something - or even to put a pinhole lens on and shoot something. If you ever want to know how many pieces of dust have landed on your sensor, a pinhole lens is the quickest way to see them all. 🙂 -
First thing I'd do is fit a mild-telephoto lens, focus it wrong so it's all blurry and point the lens at something that is one colour - like the sky or a blank wall - and see if the mark appears on the footage. If it does then you have a problem, otherwise it won't show and you're fine. It may show up in the bokeh of out-of-focus areas too, but texture or patterns in bokeh is normally relatively benign and very common. -
By Aussie Ash · Posted
What is Noir ? (runs for 5 minutes) -
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Perhaps the risk you are hinting at is that making things technical will limit them creatively? This is a valid concern, and we know that people can't be analytical and also creative at the same time cognitively, so switching into analysis mode is opposed to creativity in that moment. However I think this is a challenge that we're all already facing and dealing with (in our own ways and to our own various levels of success). The approach I take is: Do the analysis and technical work between projects. This involves doing things like latitude testing, lens testing across apertures, testing codecs and colour spaces, testing colour grading approaches and techniques, comparing export codecs and settings, etc. Save the results of these tests in an easy-to-reference place (I save stills that are labelled clearly). Putting your creative / emotional / aesthetic hat on, assess the results of those tests aesthetically. How do they make you feel? Which ones do you like or dislike and why? When shooting on real projects, remember what you learned from your assessments and make sure the tech is setup right (camera set to 24p not 30p, right resolution / codec / colour profile, etc), and then forget about it and think and act creatively. Great artists know the technical aspects of their craft but are able to move beyond them once they're in place and act creatively. Roger Deakins isn't thinking about ARRI vs RED or thinking about lenses and which aperture to use when he's operating the camera, but he sure as hell has looked at these things and formed his conclusions and made these decisions. If you swapped lenses on him he'd sure notice and not be happy about it - he chose what he chose for good reason. That's how I think about it anyway. I've actually done some initial tests (drawing from my vast backlog of previous camera tests) and worked out the following: GH7 set to 1080p Prores HQ is about equivalent to 35mm film (This might actually be a little low - this was 1080p footage on a UHD timeline so it'll have been softened in the upscale.. however, what this means to me is that it's fine for my purposes and although not as sharp as C4K etc, it's sharper than I need it to be and so I can take the win with storage sizes and editing performance) My Voigtlander 17.5mm @ F0.95 is about 23mm, and my TTartisans 17mm @ F1.4 is about 18mm Not only does this confirm the TT is softer than the Voigt, but I actually think that for lots of my projects a 16mm equivalent image is perfectly fine, so just as I had hoped, the TT has now moved from "oh, that's soft - is it too soft? I don't know" to "it's better than 16mm so probably fine for grittier or dreamier aesthetics" These are both wins in my book! I suspect most people can just look at the images from a setup, see them and assess them on the spot, and then move on using that information. Unfortunately, that isn't me.
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