Have you ever had a conversation with a friend or a stranger who was going on and on about something that he/she was incredibly passionate about, but you weren't so the vast majority of references, and technical aspects flew right over your head? That's annoying. Well, when you are as fascinated with something like art or mechanics, it can be easy to forget that not everyone is as enthusiastic or as knowledgable as you are. For me, this mostly happens when I find myself talking about cameras and their technological advancements. While I do enjoy discussing camera tech and filmmaking gear, it occurs to me that not all of you are as versed on the topic as I am. Since I will be dedicating all of next month to discussing feature films that have been made on consumer level equipment, I think it is only fitting that I provide you with a reference guide so you may better understand and appreciate the films I will be discussing. Consider this a brief introduction to the basics of Camera technology.
Before I start going over the essentials of gear, allow me to explain my motives behind this essay and the reviews that will follow. As a cinematographer, I have learned a great deal about cameras, lenses, and all kinds of unbelievable bits of gear for making movies. Over the years, as I learned more and more about Camera technology, I discovered my personal preferences for my work and have narrowed it down to a few essential pieces. Cameras have come a long way since the beginning of the digital age. As such, many of them have proven to be more than capable of delivering fantastic and beautiful images right out of the box that is just ripe for the big screen. However, in recent years, there has been such an onslaught of new and improved technology, both in the professional and the consumer markets, that a lot of the "older" cameras have been overshadowed, or even disregarded, as no longer fit to make the best movie possible. The assumption seems to be that unless you have a particular set of tools that provides "X" amount of stuff, you won't be taken seriously and your movie will never look good.
This could not be farther from the truth. Not only has some of more "less than advanced" camera technology proven capable of delivering high-quality cinematic images, but some of them are even, arguably, better than some of the more powerful and incredibly expensive ones on the market. Speaking as a cinematographer who has shot projects on highly advanced cameras and not-so-advanced ones, I can say with confidence that high-quality images can come from just about anywhere regardless of specs and numbers. It is my desire and my passion to encourage all filmmakers, younger ones especially, to not be afraid of older tech. This is one of the reasons I am dedicating an entire month to movies that were shot on consumer cameras. To bring to light the awesome power of older technology, and to encourage filmmakers to reconsider the popular conceptions made by camera companies, perfectionists, and even other filmmakers. We can do so much more with far less than you think.
Now, with that out of the way, here are some of the essential things to keep in mind when examing the movies I will be reviewing next month.
Resolution:
I discussed this in greater detail in my previous essay, 1080p Still looks great even today. The shorter version is the resolution refers to the number of pixels (blocks of information) within a digital image. The more resolution you can record, the more detail your pictures will retain. The standard resolution for most online content, home video, and consumer cameras is known as 1080p. Recently, a new resolution known as 4K, which is four times larger than 1080p, began to overtake the market, aiming to become the new standard. Today, almost all consumer and professional video cameras offer some flavor of 4K, and a few brand new cameras in development are offering even more with 8K.
Both 1080p and 4K are incredible options for capture. Speaking personally, I prefer to maintain a strictly 1080p workflow with my projects. While I do own a camera that shoots 4K, I rarely use that option, though I am happy to offer it to folks who want it when taking on film projects. My issue with 4K, aside from it not looking all that better than 1080p, is that a lot of filmmakers are assuming that 4K is required to shoot a film. This is not helped when you consider that Netflix requires all of its original content to be captured in 4K.
There are so many beautiful examples of gorgeous looking films made in recent years that were not captured in 4K. Most of the Marvel Superhero movies and shot on, what is arguably the most popular high-end cinema camera on the market, the Arri Alexa, which has a standard resolution of 2.8K.
It is foolish to assume that high resolution is required for high-end cinema. Also, considering how large of a format 4K is, unless you have a big enough hard drive and a powerful enough computer to handle the large files (many indie filmmakers don't), it's just not worth the hassle. Don't be afraid to shoot your movie in 1080p. It'll hold up just about anywhere.
Color Depth:
Every camera in the world can see color. What you probably didn't know is that every camera sees color different from one another. Also, every different camera brand tends to understand specific colors better than others. Example: Canon cameras can see Blue better than most while Sony cameras tend to favor Yellow. It's a strange phenomenon to be sure, but an important one to consider when selecting a camera for any given project. However, what is usually more critical, and what many filmmakers seem to be spending too much time waxing about, is 8bit vs. 10 bit. Color depth is the one aspect of color reproduction that pretty much the vast majority of indie filmmakers have built a universal opinion.
In layman's terms, the main difference between 8bit and 10bit color is that one can see a more extensive array of color variations. Imagine the color Red and all of the changes in-between Light Red and Dark Red. Most consumer cameras can only capture 8bit video, which means they see a decent amount of color variations to create a passable image but does not offer much room for adjustment as opposed to 10bit which can see many more changes to create a near-perfect recreation of the subject.
Most filmmakers will want to capture in 10bit or above as that provides more information and usually creates a better image. I have used both 8bit and 10bit capture options and, while I love the advantages offered in 10bit, I honestly don't see that drastic a difference between the two. What's more, I don't see the point in casting aside 8bit recording options like so many filmmakers are doing these days. Some of the best cinematic video cameras on the market, especially those built by Canon, Sony, and Panasonic, only have an 8bit internal recording option. While most of them offer the ability to record 10bit video onto an external recorder, I find that most of them have incredible footage right out of the box. I find it to be unfair and counterproductive to cast aside any camera as a candidate for a film project purely on the basis that it does not offer 10bit color. Some of the best looking films have been captured using an 8bit source, so please don't be so quick to judge.
This feature film which includes tons of special effects (both practical and digital) and full color-correction was captured on an 8bit camera, and it all looks glorious.
Dynamic Range:
This aspect of Camera tech is similar to Color Depth. In that, it is also an aspect involving more or less available information. Dynamic range refers to the amount of detail retained in the brightest and darkest part of an image. Most of the time, filmmakers will want a camera that can capture the fullest amount of dynamic range possible. Both for extra options regarding color correction and maximum creative posibilities within the image. High-end cinema cameras like the RED and the Arri Alexa offer some of the most extensive dynamic range possible.
There are several circumstances where having the most amount of dynamic range is best. Shooting a predominantly dimly lit scene, filmming outside in the blazing sun, and so on. Also, having the most amount of wiggle room to further manipulate the image in post-production. While I have enjoyed using these aspects of filmmaking, and continue to do so with some projects, I cannot help but also feel that it has the potential to create lazy filmmaking. Before the advent of modern cinema technology, filmmakers had to plan out their look and style for the film in question. They had to decide how they wanted their movie to look almost entirely in-camera rather than apply the desired look afterward. Yes, there was still post-production color grading and special effects if needed, but in terms of h.ow much detail was within the image required more discipline. As such, it is my opinion that, while having tons of range to work within the image is still a good thing, filmmakers would be wise to occasionally take a step back and reconsider their aesthetic preferences and how they can achieve them in-camera rather than after the fact.
Conclusion:
New cinematic technology has come a long way. We have developed amazing cameras that can reproduce many levels of color detail, substantial amounts of resolution, and dynamic range damn near close to that of the human eye. Unfortunately, at least in my opinion, it seems to be progressing at the price of "less-than-advanced" cameras that have so much more potential for high-quality cinema than most people give them credit for these days. Falling into the assumption that unless they have all the popular bells and whistles on their camera, the are incapable of delivering a genuinly cinematic experience.
The idea the one cannot create cinema with anything other than a RED is ridiculous! Consider for a moment this older camera, the Panasonic AG-AF100
For a time, this was the flagship of consumer level cinematic Cameras and still is even today. While some may consider it inferior by today's standards, I say it is still a viable option for high-quality cinema. So, to kick-off "Camcorder Cinema" next month here on this blog, we're going to take a look at a feature film that was captured entirely on this camera. What's more, it's a pretty fun movie in its own right as well. Tune in again soon, and I'll tell you why.
Ladies & gentlemen, I am TheNorm. I hope you found this crash course fascinating and helpful. Thank you all for reading.
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