MIDDLEEASTMAMBO

"I don’t consider 16:9 a cinema look! No idea why all our ‘cinema’ cameras shoot that way."

 

Oh God... this again! 16:9 happens to give a 1.77 ratio, which in turn happens to be half-way between the 1.66 and 1.85 ratios, which were the standard picture ratios of the whole film industry during the second half of 20th century (and on), mind you.. I suppose that the previous standard ratio of 1.33 (4/3 if you prefer) has even less of a "cinema look" for you? Too bad people like Griffith, Eisenstein, Welles or Marker didn't know.

I fully understand your enthusiasm for anamorphic, but please don't assume that "cinema" or "cinema look" depends on one aspect ratio!

imho the aspect ratio you may choose for to shoot a specific project is also much connected to the visual "language" you intend to use. There are some real advantages in shooting widescreen (2,35:1 and wider), first of all you could create a 2shot closeup in which the actors are still able to move, come closer together in a fixed shot. Second this format enables you to have a single closeup on one actor and a total shot in one. And third: Since most / normal movement is horizontal this aspect ratio will keep the frame more steady (you don`t need to start panning immediately as soon as a movement occurs you need to follow) which could be essential in cinema (where you are basically  forced to follow since the screen will more or less cover your complete field of view and everything els is just dark) in order not to get too much disturbed by a camera movement. Sure, there is also great films shot in 1,33:1 or 1,85:1, but widescreen is imho. quite a good choice if you intend to use complex blocking together with much movement in the frame and still want to keep the picture / camera movement under control. Thats why you bring back the spectators attention to the movement in the scene which enables you to emphasize / accentuate very special moments by using strong camera movement on intention.

its always  great to follow your blog Andrew! Finally I managed today to register... This combo with BMCC and the ISCO 54 looks promising.

But how did you mount this heavy lens? On the pictures it looks frightening. And b.t.w.: since we are also located in Berlin: if you need a SDI monitor (TVLOGIC 56 wp e.g.) and rigging gear for testing you could always stop by to our studio in Friedrichshain for a coffee and we will borrow you one of ours. Just drop me a mail - would be a pleasure for us.