After image quality and design quirks, the most discussed topic regarding the new Blackmagic Cinema Camera is lenses. Specifically, the issue regarding wide lenses. Since the BMCC's sensor is slightly smaller than Micro Four-Thirds, but uses a Canon mount, one of the complaints has been that it won't be possible to get a sufficiently wide image with the available lenses in that mount. The team over at OneRiver Media set out to prove exactly what was possible with current wide lenses, and they've also created one of the first short projects shot completely on the Cinema Camera (besides everything that John Brawley has done so far, of course).
Here is the short PSA, called Texting is Dangerous:
The entire project was shot RAW with CinemaDNG and graded in After Effects. A little more information about the production:
...we opted to perform a fairly straight and neutral grade with high contrast, something close to what the camera produced, post debayer and de-log profile. We used the following lenses on this production: Canon 24mm f/1.4L, Canon 50mm f/1.2L, Canon 135mm f/2, Sigma 8-16mm f/4.5-5.6 zoom...Mounting the camera on the Porsche with its stiff suspension proved well, and obviously not a typical solution. I almost didn’t want to include that footage, but felt that the audience would want to see ALL shots in their extreme variants.
The widest footage in the video above was shot somewhere between f/4.5 and f/5.6 at the least because that's the minimum aperture for the Sigma lens. The one lens that has been talked about the most as a possible fast wide for the Cinema Camera is the Tokina 11-16mm f/2.8, which is almost two stops faster at its minimum. For those worried about shooting in lower light, RAW is going to give you a lot of range to work with, and a lens like the Tokina is going to be plenty fast enough for a lot of situations.
OneRiver Media has also done a comparison with the Canon 5D Mark II, Canon 7D, and the Blackmagic Cinema Camera. You can click on the image on the right to see the full-size comparison. There's no question you can get the widest with the Canon 5D Mark II, but the BMCC can get plenty wide with the Sigma lens, and for the work many people are doing, it's going to be more than enough. Of course, you're not really going to be able to get a fish-eye effect with this camera, and a fast wide lens -- like a 24mm f/1.4 mounted on the BMCC -- takes on an equivalent field of view of a 55mm lens on a 5D.
Here is what Marco Solorio said about the lenses tested:
Personally, I really like the Sigma 8-16mm f/4.5-5.6 HSM lens so far. It doesn’t have any barrel distortion at all and the edges stay straight throughout. Sharpness isn’t bad either, even wide open. The Canon 8-15mm f/4L is clearly the widest, but has obvious barrel distortion. Zoom in to 15mm and the distortion goes away for the most part. It’s a sharp lens throughout. And the solid build-quality is typical of all Canon L lenses; very nice. The Rokinon 8mm T3.8 cinema prime lens is just a shy less wide than the Canon 8-15mm lens, and has its own share of barrel distortion, albeit less than the Canon. Fully wide open, this lens is soft. To get decent sharpness, you need to stop down to about T5.6.
If you want very wide lenses it does mean you'll probably have to make an investment in some new ones (assuming you don't own any of the lenses mentioned). This is a valid complaint, but let's also keep in mind that this is a first generation product and it's very possible Blackmagic will address the mount issue with a future camera model. Either way, at the moment, getting this kind of image quality out of a camera costing $3,000 is just astounding, and there's no question people will find workarounds for whatever problems this camera might have (even if it means modifying the camera).
Be sure to head on over to the OneRiver Media blog for the full analysis of these lenses.
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10 Directing Lessons From Yasujirō Ozu
Ozu always kept it simple, beautiful, and deep.
Yasujirō Ozuu, a name synonymous with the golden era of Japanese cinema, has inspired filmmakers and cinephiles across generations. His approach to storytelling, framing, and character development offers a treasure trove of lessons for aspiring directors.
In this post, we delve into ten of his most influential techniques.
Let's get started.
1. The Importance of "Ma" (Negative Space)
Ozu’s use of "ma," or negative space, in his compositions teaches us about the power of what is not shown. His frames often feature empty spaces that speak volumes, encouraging viewers to engage more deeply with the scene.
2. Low and High Camera Angles
Ozu's signature low camera angles, often at the eye level of a seated person, create an intimate perspective. This approach invites the audience into the world of the characters, making the experience more immersive.
His high camera angles of buildings, bird's eye views, and static scenery shots emphasize a world that changes before our eyes.
3. Minimal Camera Movement
In stark contrast to contemporary filmmaking, Ozu often used a static camera. This technique forces the viewer to focus on the subtleties of the performance and the composition of each frame.
4. The Pillow Shot
Ozu frequently inserted "pillow shots," short, transitional scenes of nature, everyday objects, or settings, to create a contemplative pause in the narrative. This technique allows for a moment of reflection and emphasizes the environment's role in the story.
5. Restrained Editing
Ozu’s editing style is marked by its restraint. He often avoided conventional editing techniques like cross-cutting, instead opting for straight cuts that offer a more straightforward, contemplative flow.
6. Finding The Profound in the Everyday
Ozu's films often revolve around everyday life and simple stories, yet they touch on profound themes like family dynamics, the passage of time, and the clash of tradition and modernity.
7. Subtle Performances
Ozu directed his actors to deliver understated performances, believing that subtlety could convey deep emotions more effectively than overt drama.
8. Set Design
Ozu's meticulous set designs were integral to his storytelling. He carefully arranged every object in the frame to reflect the characters' inner lives and the film’s broader themes.
9. The Beauty of Simplicity
Ozu teaches us the beauty of simplicity in both storytelling and visual composition. His films, devoid of complex plot twists or elaborate cinematography, capture the essence of the narrative through simple yet powerful means.
10. Respect the Audience
Ozu respected his audience's intelligence, never over-explaining or spoon-feeding the story. He believed in the viewer’s ability to piece together the narrative and find personal meaning in it.
Yasujirō Ozu’s filmmaking philosophy transcends time and cultural boundaries, offering universal lessons for directors. His emphasis on simplicity, subtlety, and the profound in the everyday makes his work a continuous source of inspiration and learning.
It's amazing to have art like his to study and breakdown as we emotionally connect with its storytelling.
Now go watch his films and take these lessons into your own work.