Thanks for the explanation. While I'm enjoying Shōgun quite a bit I have to admit that I think its cinematography is a bit distracting at times. I had to rewind a few times because I was paying more attention to the distortion than the subtitles on screen.
The noise looks like real film grain and I love it, and I love the up close and personal look of this show, and the extreme bokeh helps with that. I love the look, it is different. Just got my Samsung S90C OLED calibrated and watching in a dark room and the show looks incredible!
Yes, they are shooting fairly wide open, with wider angle anamorphic lenses for the most part. They are then cropping that image in post for a different aspect ratio. The Vantage One is a spherical lens for cleaner shots, maybe for VFX plates too.
the reason they do it the analogue feeling.... digital is perfect now, so distortion and swirling bokeh are ways to convey analogue back in to the picture
I am glad to know I wasn't the only to notice. In my film program, we covered lens distortions, so it was immediately obvious the first scene it took place. I handt considered this to be done purposely. I was in the impression that either it was an amateur mistake, budget constraints, or just a lazy approach by the directors and cinematographers or a combination of either of those. Although it was a deliberately artistic decision, it was quite distracting and annoying, and I believe it served little to no purpose as a visual effect in those scenes. As for its use as a visual way to evoke or amplify an emotion, I personally feel there are more effective visual tricks and techniques. Thank you for your research into this topic and your explanation of what lenses they used.
That’s not true? Super 35mm is but one of the many formats used in celluloid filmmaking. It came about in the 80s, became popular in the mid 90s for mid to low budget films, but with the arrival of 2k scanning, many productions went with 3-perf films to save money, and eventually pivoted to digital. Alexa and Red did not have super 35mm size film sensors. They had regular 35mm. Sony a7 series also wasn’t the full frame digital camera. They’ve had full frame and even medium size way before that.
i think our confusion is around the definition of the terms for film vs sensors. the alexa has a "super 35 sensor," which means it has roughly the width of super 35mm (say about 24mm). and when im talking about "full frame" here, im not using the film term (meaning full gate, up to ~24mm wide), im using its current definition for mirrorless cameras, which means roughly 36mm wide x 24mm i messed up around the mirrorless stills camera stuff, should have brought up the earlier full frame dslrs, slipped my mind when recording it. my point was the a7 was the first? *mirrorless* full frame and to my mind that series of cameras (the a7sii specifically) has driven a lot of the push for full frame digital video. theres been other large sensor cinema cameras released within the past 10 years (red monstro, alexa 65), but these recent cameras specifically targeting "full frame" seem to already be seeing a lot more use
Took you 6 mins to mention anamorphic lenses. Wtf. That "look" in the show is straight up an anamorphic look. It's clear as day anyone whos into cinematography. People have been doing it on digital cameras whether its FF, S35, APSC, M43 for years using the old school DIY method. Not sure why you're talking about sensors at first at all.
No. In still photography, the frame is 36mm wide. The 35 mm comes from how wide the actual film strip is. Measured outside the perforations. The 36 mm wide frame and the 35 mm wide film strip are two completely different things. Please do not mislead people like this. Some may actually believe what you are saying here is true.
Interesting explanation of what they're doing framing/lens wise, but I'm 11 minutes in and already reached the conclusion that it sucks. It's visually very distracting at best, and just shit at worst, the vignette was a weird choice, but the lens barrelling, the chromatic aberrations are just horrendous throughout and I'm struggling to continue watching.
Chuckling at you riffing on the Thomas Flight titling convention while giving more technically rigorous answers.
Thanks for the explanation.
While I'm enjoying Shōgun quite a bit I have to admit that I think its cinematography is a bit distracting at times. I had to rewind a few times because I was paying more attention to the distortion than the subtitles on screen.
The noise looks like real film grain and I love it, and I love the up close and personal look of this show, and the extreme bokeh helps with that. I love the look, it is different. Just got my Samsung S90C OLED calibrated and watching in a dark room and the show looks incredible!
caleb gamman
Yes, they are shooting fairly wide open, with wider angle anamorphic lenses for the most part. They are then cropping that image in post for a different aspect ratio. The Vantage One is a spherical lens for cleaner shots, maybe for VFX plates too.
this is very educational
the reason they do it the analogue feeling.... digital is perfect now, so distortion and swirling bokeh are ways to convey analogue back in to the picture
I am glad to know I wasn't the only to notice. In my film program, we covered lens distortions, so it was immediately obvious the first scene it took place. I handt considered this to be done purposely. I was in the impression that either it was an amateur mistake, budget constraints, or just a lazy approach by the directors and cinematographers or a combination of either of those. Although it was a deliberately artistic decision, it was quite distracting and annoying, and I believe it served little to no purpose as a visual effect in those scenes. As for its use as a visual way to evoke or amplify an emotion, I personally feel there are more effective visual tricks and techniques.
Thank you for your research into this topic and your explanation of what lenses they used.
thanks
yayy more content! 🎉
so glad to finally see somebody making videos that is as clearly obsessed with all Zach Snyder films as I am!
That’s not true? Super 35mm is but one of the many formats used in celluloid filmmaking. It came about in the 80s, became popular in the mid 90s for mid to low budget films, but with the arrival of 2k scanning, many productions went with 3-perf films to save money, and eventually pivoted to digital. Alexa and Red did not have super 35mm size film sensors. They had regular 35mm. Sony a7 series also wasn’t the full frame digital camera. They’ve had full frame and even medium size way before that.
i think our confusion is around the definition of the terms for film vs sensors. the alexa has a "super 35 sensor," which means it has roughly the width of super 35mm (say about 24mm). and when im talking about "full frame" here, im not using the film term (meaning full gate, up to ~24mm wide), im using its current definition for mirrorless cameras, which means roughly 36mm wide x 24mm
i messed up around the mirrorless stills camera stuff, should have brought up the earlier full frame dslrs, slipped my mind when recording it. my point was the a7 was the first? *mirrorless* full frame and to my mind that series of cameras (the a7sii specifically) has driven a lot of the push for full frame digital video. theres been other large sensor cinema cameras released within the past 10 years (red monstro, alexa 65), but these recent cameras specifically targeting "full frame" seem to already be seeing a lot more use
i farted into a lantern
Took you 6 mins to mention anamorphic lenses. Wtf. That "look" in the show is straight up an anamorphic look. It's clear as day anyone whos into cinematography. People have been doing it on digital cameras whether its FF, S35, APSC, M43 for years using the old school DIY method. Not sure why you're talking about sensors at first at all.
Wah
You can do your own video and mention it second 1... Where is your video? WHERE?!?!? WTF
No. In still photography, the frame is 36mm wide.
The 35 mm comes from how wide the actual film strip is. Measured outside the perforations.
The 36 mm wide frame and the 35 mm wide film strip are two completely different things.
Please do not mislead people like this. Some may actually believe what you are saying here is true.
Interesting explanation of what they're doing framing/lens wise, but I'm 11 minutes in and already reached the conclusion that it sucks. It's visually very distracting at best, and just shit at worst, the vignette was a weird choice, but the lens barrelling, the chromatic aberrations are just horrendous throughout and I'm struggling to continue watching.
It looks bad.
so glad to finally see somebody making videos that is as clearly obsessed with all Zach Snyder films as I am!
i think i must enjoy them so much im concussing myself after every time i see one so that i can experience them anew!
so glad to finally see somebody making videos that is as clearly obsessed with all Zach Snyder films as I am!