![]() I get very confused and, frankly, irritated by all the pronouncements about ‘K’, bit depth, latitude etc. The fact that a lens will open to a 1.4 does not necessarily mean that the cinematographer will use it wide open although doing so may produce a ‘look’ that suits a particular shot, scene or film. The speed of a stock, chip or a lens may be advantageous but it is not the be all and end all of a cinematographer’s craft.Ī lens that can open to an aperture of 1.4 and provide a sharp image at that aperture will, most often, provide an even higher degree of image resolution at 2.0 and higher again at 2.8. Even if the camera were a true 5K and a true 2000 ASA that does not negate the reason why a cinematographer uses super speed lenses any more than it negates a use for artificial light. When asked about the RED Epic’s specifications, Deakins seems to get a little bothered by those obsessed with numbers:Īgain, to talk of 5K resolution is somewhat misleading. Where Deakins is really on point, however, is when he qualms debates about resolution and image quality by pointing out that cameras are merely tools to serve a story. It seems Deakins biggest complaint about Alexa is the lack of an optical viewfinder to which he justifies by saying “the advantages of shooting with the Alexa outweigh the disadvantages.” That ‘look’ includes “adding a selective amount of grain” for “certain sequences” but Deakins is quick to point out that that “choice is one of personal aesthetics and not because I feel the image from the Alexa looks too sharp or ‘electronic’.” The images the camera produces seem to fit with the ‘look’ I am after. I have done quite extensive tests with the Alexa and I do feel it produces the first digital images I have seen that are of a quality comparable to film with what I feel is a greater dynamic range. ![]() ![]() I suppose you could call the film I am about to shoot a film is a futuristic thriller in which has a lot of night work and a very tough schedule. On the one hand I find that a little sad, just as I find it sad that Du Art in New York has processed it’s last roll of film, but on the other hand I am really excited by all the creative opportunities that digital capture can offer and which will only expand to ‘who knows where’ in the future.Īnd while Deakins says in that post he has yet to shoot a film digitally, later on he exposes his intention to shoot with the Alexa on his next project: I have yet to shoot a film digitally but I am seriously beginning to doubt that I will shoot film again – other than on my Leica M6 that is. The possibilities now on offer and the new work flows that are available seem to me to have tipped the equation. If I were starting out, quite frankly, I would concentrate on digital capture. Deakins’ opinion is valuable and holds some weight because of the respect his work ( The Shawshank Redemption, No Country for Old Men, and The Reader – to name a few) has earned and it seems he is excited about what digital has to offer: ![]() On his website, Deakins Online, the director of photography has been sharing his opinion on Arri’s flagship digital camera across a variety of boards. ![]()
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