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ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC ,ABC [email protected] www.affonsobeato.com © copyright 2011 Affonso Beato © copyright 2011 Affonso Beato

ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC,ABC [email protected] © copyright 2011 Affonso Beato

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Page 1: ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC,ABC abeato@artcenter.edu  © copyright 2011 Affonso Beato

ADVANCED

CINEMATOGRAPHY

by Affonso Beato, ASC ,ABC

[email protected]

www.affonsobeato.com

© copyright 2011 Affonso Beato

© copyright 2011 Affonso Beato

Page 2: ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC,ABC abeato@artcenter.edu  © copyright 2011 Affonso Beato

4.0 Film or Digital ?elements for comparison and discussion

version 09.25.12

by Affonso Beato, ASC, ABC

Page 3: ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC,ABC abeato@artcenter.edu  © copyright 2011 Affonso Beato

elements on all systems:

the concept of latitude ( dynamic range )using f stops

the concept of resolution ( sharpness and color complexity )using pixels per horizontal line

Page 4: ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC,ABC abeato@artcenter.edu  © copyright 2011 Affonso Beato

the concept of latitude ( dynamic range )using f stops

Page 5: ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC,ABC abeato@artcenter.edu  © copyright 2011 Affonso Beato

characteristic curve on photo chemical systems

• over exposure

• saturation

• under exposure• chemical fog

straight portion of the curve = latitude

axis of light

axis of density

Page 6: ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC,ABC abeato@artcenter.edu  © copyright 2011 Affonso Beato
Page 7: ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC,ABC abeato@artcenter.edu  © copyright 2011 Affonso Beato

color reference chart

Page 8: ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC,ABC abeato@artcenter.edu  © copyright 2011 Affonso Beato

using the film characteristic curve on digital systems

• over exposure

• saturation

• clipping

• digital noise

• artifact

• under exposure• chemical fog• digital noise straight portion of the curve = latitude

Page 9: ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC,ABC abeato@artcenter.edu  © copyright 2011 Affonso Beato

comparing the differences in perception between the human eye and the photo systems

the concept of latitude ( dynanmic range ) in f stops

1 : 2 : 4 : 8 : 16 : 32 : 64 : 128 : 256 : 512 : 1024 : 2048 : 4096 : 8192 : 16384 : 32768 : 65536 : 131072 : 262144 : 524288 : 1.048.576

0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

Page 10: ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC,ABC abeato@artcenter.edu  © copyright 2011 Affonso Beato

comparing the differences in perception between the human eye and the photo systems

2010 new technology – HDRX digital film movie cameras – 18 stops latitude

Page 11: ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC,ABC abeato@artcenter.edu  © copyright 2011 Affonso Beato

comparing the differences in perception between the human eye and the photo systems

the concept of latitude ( dynanmic range ) in f stops

• human eye’s latitude – 20 stops – ( 1: 1.048.576 ) - fast dynanmic adaptation

• latitude of the negative film ( Kodak Vision 3 type ) - 16 f stops – ( 1: 65.536 ) – saturation

• latitude on the 2k digital camera (Sony F65, Epic,Alexa ) – 14 f stops – ( 1: 16.384 ) – clipping

• latitude on the HDTV camera – 10 f stops – ( 1: 1024 ) – digital noise • latitude on the HDV camera – 7 f stops – ( 1: 128 ) – digital noise

• latitude on the SDTV camera – 5 f stops – ( 1: 16 ) – digital noise

Page 12: ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC,ABC abeato@artcenter.edu  © copyright 2011 Affonso Beato

the concept of resolution

in pixels per horizontal line

grain x pixels – using the analogy

sharpness and color complexity

Page 13: ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC,ABC abeato@artcenter.edu  © copyright 2011 Affonso Beato

grains x pixels analogy

• photographic grain > microscopic complex chemical congromarate

• image pixel > digital number – byte with a number of bits

Page 14: ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC,ABC abeato@artcenter.edu  © copyright 2011 Affonso Beato

resolution chart in sharpness

watch 1000 lines

Page 15: ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC,ABC abeato@artcenter.edu  © copyright 2011 Affonso Beato

resolution chart in pixels per line

chart by Marcelo Siqueira, ABC

Page 16: ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC,ABC abeato@artcenter.edu  © copyright 2011 Affonso Beato

MTF ( modulation transfer function ) example

Page 17: ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC,ABC abeato@artcenter.edu  © copyright 2011 Affonso Beato

comparing the differences in perception between the human eye and the photo systems

the concept of resolution in pixels per horizontal line

K = 1000 pixels on a horizontal line

• human eye’s resolution – 100K

• resolution on b & w negative film 24k – 35mm

• resolution on color negative film 16k – 35mm

• resolution on digital cameras 4k ( 4096 x 3072 )

• resolution on HD cameras 1.92k ( 1920 x 1080 )

• resolution on SD cameras 0.72k ( 720 x 640 )

• human eye’s resolution on projection 3k

• modern digital projectors 4k

Page 18: ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC,ABC abeato@artcenter.edu  © copyright 2011 Affonso Beato

existing digital sensors

Page 19: ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC,ABC abeato@artcenter.edu  © copyright 2011 Affonso Beato

existing digital sensors

Page 20: ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC,ABC abeato@artcenter.edu  © copyright 2011 Affonso Beato

existing film stock

Page 21: ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC,ABC abeato@artcenter.edu  © copyright 2011 Affonso Beato

comparison

latitude resolution problems

human vision 20 stops 100K subjectif reality

film Vision 3 16 stops 16K chemical fog

on under exposure

digital 14 stops 4K

digital noise

on over exposure

less latitude

less resolution

Page 22: ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC,ABC abeato@artcenter.edu  © copyright 2011 Affonso Beato

typical film production work flow

camera + neg film + processing + dailies + editing + overall color corrections + IP + IN + release prints

Page 23: ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC,ABC abeato@artcenter.edu  © copyright 2011 Affonso Beato

hybrid film production workflow

camera + negative film + processing + HD dailies + editing + 2K DI + film out + IN + release prints

Page 24: ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC,ABC abeato@artcenter.edu  © copyright 2011 Affonso Beato

film production workflow and digital development

camera + neg film + processing + dailies + editing + overall color corrections + IP + IN + release prints

camera + negative film + processing + SD dailies + editing + 2K DI + film out + IN + release prints

+ IN + release prints3perf cam + negative film + processing + HD dailies + SD editing + 2K DI + film out + 2K DCI projection

+ IN + release prints4K digital camera + tape/data + HD dailies + SD editing + 2K DI + film out + 2K DCI projection

4K digital camera + data + HD dailies + HD editing + 4K digital intermediate + 4K DCI transmissions

Page 25: ADVANCED CINEMATOGRAPHY by Affonso Beato, ASC,ABC abeato@artcenter.edu  © copyright 2011 Affonso Beato

The near future