00:00

[Music]

00:01

part of our goal is that all the

00:03

students that participate on the crew

00:05

get to use this as an opportunity to

00:07

launch their careers this program has

00:11

been a huge learning experience it was

00:14

really exciting to see these companies

00:16

so supportive of jumping filmmakers I

00:19

want to tell a story through a set it

00:22

feels like you're like coming out of the

00:24

jungle and into like the neon part and I

00:26

feel like that was the perfect way to

00:28

incorporate the two worlds since we're

00:30

playing a lot with the jungle theme and

00:32

with animals the idea that they could be

00:35

wearing something reminiscent of the

00:36

animal that they're portraying is

00:38

helpful in telling the story about the

00:40

neon jungle the comedy aspect I think is

00:44

a huge part of what the short is about

00:46

and the voice-over narrator I think this

00:48

kind of sets it apart in this new

00:50

comedic way that every movie we've never

00:52

seen before

00:53

[Music]

00:57

it's super important for programs like

01:00

coca-cola refreshing films to exist

01:02

because it gives young filmmakers like

01:04

myself and our entire team the platform

01:06

to practice the things that we want to

01:09

do in our career

01:12

[Music]

00:00

the coca-cola of refreshing films

00:02

program is about giving us student

00:05

filmmakers a chance to make something

00:07

that is on a professional scale to give

00:10

us a real challenge and to make

00:11

something that a lot of people will see

00:13

action it was a great opportunity to be

00:16

creative but I thought magic it's a

00:18

concept that you can quickly relate to

00:20

the combination of popcorn and coca-cola

00:22

and go into the movies I think he's done

00:25

a really good job writing a script

00:27

that's fun and make sense and also gets

00:29

across the advertising elements that he

00:31

brings in with coca-cola

00:34

the practicality of Columbia was one of

00:37

the reasons that I chose Konya we get to

00:39

be on set almost every day for most of

00:43

the classes it's a really good

00:44

opportunity for us to practice what

00:47

people do on professional sets you want

00:49

to make it look professional make it

00:51

look cinematic and the red camera and

00:53

size lenses have been essential for that

00:54

one's choice is so key in telling a

00:57

story I mean it's subtle but at the same

00:59

time is so impactful in an artistic way

01:03

this was one of the best collaboration

01:05

that of experience so far it's a great

01:09

opportunity it could be a big exposure

01:11

for students it's so much fun

01:14

it's challenging in a really good way

01:17

everyone knows what they're doing and

01:20

they also know other people's job so the

01:22

communication is very OnPoint while

01:25

making a call at commercial it's it's

01:28

incredible there's only so many times

01:30

that you'll get to do something like

01:31

this and that's that's all invaluable

01:37

[Applause]

00:01

there's just nothing more rewarding than

00:03

seeing your vision come to life right in

00:05

front of you and seeing the camera

00:07

capture it so beautifully it's really

00:09

great to get this type of opportunity at

00:11

such a young age like I don't think we

00:12

ever thought that we would be working

00:13

with coca-cola my favorite part of being

00:16

on set is just the overall energy that

00:18

energy bleeds from the crew into the

00:21

cast and then the energy on screen just

00:23

ends up being really vibrant and amazing

00:26

it's almost like a beautiful machine

00:28

running all at once and you're just

00:31

chugging forward the whole time it

00:34

becomes this puzzle that can only be

00:36

solved if everybody puts in their piece

00:38

and then you finally get to see on the

00:40

monitor the final frame it's just very

00:42

gratifying oh my god there's gonna be

00:47

like right at the top cut and that's a

00:51

wrap everybody

00:54

[Applause]

00:00

see you Charlie pig what this is a

00:05

really important experience for student

00:07

filmmakers getting ready to go out into

00:09

the world because it's one thing to make

00:11

a student film in isolation it's another

00:14

skill set entirely to be able to make

00:16

something on behalf of the client it's a

00:19

professional project and looking 80

00:21

people is a mind-blowing and

00:23

breathtaking it's like feeling in

00:25

Hollywood you know they're coordinating

00:27

heavy visual effects to shooting

00:29

locations a set build there's been a lot

00:34

of challenges but it's also been such a

00:36

gratifying and and emotionally brilliant

00:39

experience everyone's doing their best

00:42

on this project as we all want it to be

00:44

the best commercial it reminds me that I

00:46

care for these people and I care how

00:49

much work they're going into the project

00:51

and other thing fall for the experience

00:54

[Music]

00:56

[Applause]

00:04

coca-cola refreshing films gave us this

00:07

great opportunity to bring our ideas to

00:10

life just a step away is so unique with

00:13

how musicals have such a different

00:14

energy than any other type of art and

00:16

it's really exciting her bring that to

00:19

coca-cola refreshing films for the first

00:21

time started I think at 8:00 p.m. it's

00:23

6:00 a.m. right now but it's such a cool

00:25

team everyone is really fun everyone's

00:27

working really hard

00:29

the program has partnered with Fred

00:30

sighs that new film it's another way of

00:32

making the program as professional as

00:35

possible working with bread and Zeiss

00:37

was great it's helped elevate the look

00:41

of our film this crew is different

00:43

because it's very female dominated it's

00:46

so nice to Jana fat and feed so many

00:49

women and so many people of color we

00:51

need representation what's giving me an

00:53

eye the second we got together as a team

00:54

we knew that this was gonna be our

00:56

chance to give women a chance this spot

01:00

has so much heart some music in

01:03

combination with just every one of the

01:05

captures how special it is to go to the

01:07

movie

01:08

[Music]

01:09

[Applause]

01:12

[Music]

01:14

you

00:00

I'm Lily I'm Nicole and we're from UNLV

00:02

enjoy our film

00:03

[Music]

00:10

I can grant you one wish I wish I was in

00:14

my happy place

00:15

[Music]

00:27

[Music]

00:29

this would have been my wish too

00:33

[Music]

00:00

I'm Cooper I'm Tyler we're from NYU

00:01

enjoy our film wait how do I send it

00:06

emoji

00:07

dad emojis are right here you didn't

00:10

know that I've the tickets here buy them

00:13

on your fault yeah you didn't know that

00:15

[Music]

00:28

is perfect you didn't know that

00:31

[Music]

00:00

I'm Jamie and I'm Thais, we're from The New School. Enjoy our film

00:03

(typing on phone)

00:24

Can you believe that ending?

00:26

Oh my god

00:27

The visual effects were so good

00:29

We have to watch the next one together.

00:00

I'm Nathan, and I'm Elon, we're from UCLA

00:02

Enjoy our film

00:05

(soft drink crackles)

00:27

Let's go!

00:28

Movie's starting

00:00

Hi I'm Max, I'm Ron, and we go to Columbia University.

00:03

Enjoy our film

00:05

(cameras flashing, and crowd talking)

00:12

(crowd cheering)

00:00

Hi I'm Clara and I'm Eva and were from Ithaca College. Enjoy our film

00:10

Jack want to see a movie.

00:11

I'd be down to see a movie

00:12

I'm in. What movie we gonna see?

00:14

Popcorn would taste so good with this Coke right now.

00:17

Hey! I'll drive us to Regal

00:00

Hey I'm Golden, hi I'm Jessie, and we're from UCLA. Enjoy our film

00:06

Hey!

00:07

Just in time for the movie

00:00

Hi I'm Mika and I'm Amanda and we're from the School of Visual Arts. Enjoy our film

00:05

Hey, so sorry I'm late. Come on, let's go grab our seats.

00:08

Oh, do you want anyth-

00:14

I have to take this

00:22

Love you too Mom

00:29

(clears throat)

00:00

Hi, I'm Patrick and I'm Hunter. We're from Elon University. Enjoy our film

00:10

(beep)

00:11

(popcorn popping)

00:12

(Coke sizzles)

00:14

(electronic music)

00:25

00:00

hi and welcome to episode 2 of this ICA

00:02

vlog my name is Sneha Patel I'm the

00:04

cinema sales director for the Americas

00:06

and I'm really happy to be presenting

00:09

this to you I know a lot of people are

00:10

staying at home and trying to you know

00:12

be cognizant of the social distancing

00:15

well this is a great time to learn some

00:17

new stuff and a question that a lot of

00:19

people ask is about the radience lenses

00:21

the supreme prime radiance lenses from

00:23

Zeiss which are very new and are just

00:26

coming into the market people want to

00:28

know what are they about how do you get

00:30

those flare characteristics what are

00:32

Flair's where do they come from how did

00:34

you come up with you know these

00:36

characteristics and program them into

00:38

the lenses and how does it all work and

00:40

what was the whole process we're gonna

00:41

take you through the process from start

00:43

to finish so we're gonna define what

00:45

flares are we're gonna show you how it

00:48

is that we manipulated the coatings and

00:50

lenses to create those flares and then

00:51

show you the results so let's start off

00:54

let's get right into it first of all

00:55

we'd like to thank dr. Benjamin Volker

00:58

for providing this presentation

01:00

originally it was presented during

01:02

camera image Film Festival in the winter

01:05

of 2019 it's a great international film

01:08

festival that takes place in Poland

01:10

which only concentrates on

01:12

cinematography so it's a great forum to

01:15

introduce new technologies and talk

01:17

about new tools as cinematographers can

01:19

use so we were able to do this

01:20

presentation with dr. Benjamin Volker

01:22

who was actually really key in

01:24

developing the Zeiss radiance lenses and

01:26

I'm enhancing his presentation a little

01:28

bit with some edit features and giving

01:31

it to you so let's get started so the

01:33

first thing is let's talk about what is

01:34

a lens flare and define it now a lot of

01:37

people have ideas about what a lens

01:39

flare can be and you really got to break

01:41

it down into the elements of the lens

01:44

that are causing the flare

01:45

characteristics so here we have a very

01:48

interesting photograph of two astronauts

01:50

in space and there's an earth behind

01:53

them and at the same time there is a

01:55

point source of light coming from the

01:56

Sun which is causing flares inside the

01:59

lens itself so the the ghosting that you

02:01

see here you know the inhalation and the

02:05

halo all that is actually coming from

02:07

the interaction with the glass so when

02:10

light passes through the glass

02:12

through the lens you can see in this

02:14

cross-section of a cinema prime lens

02:17

that there are a lot of glass elements

02:19

that the light is going to go through

02:21

until it gets to the end and hits the

02:23

sensor plane so as it's going through

02:26

this class there are some things that

02:28

can happen to it on the way so let's

02:30

examine what that is so if you look at

02:32

these objects in without the light

02:33

source so we're cutting out the Sun all

02:36

together just looking at the illuminated

02:38

objects in a perfect world these

02:40

luminous objects each point on them

02:42

would travel through the lens as a point

02:45

source and come out the other end and

02:47

render itself onto the film plane in

02:49

this case a digital sensor plane so

02:51

that's if there's no you know Sun in the

02:53

picture just perfect illumination and

02:56

you're gonna get a great rendering so if

02:58

you don't have any point source of light

03:00

you're not to worry about it but in in

03:01

this case there is the Sun right so it's

03:04

list put the Sun in there now the Sun is

03:06

illuminating both the earth and the two

03:08

astronauts so that's where the light is

03:11

falling right now the thing is the Sun

03:13

you know this is not a perfect world and

03:16

we're not looking at these objects

03:19

through a pinhole we're looking at them

03:20

through glass so what's gonna happen is

03:22

when the Sun illuminates it's actually

03:25

gonna cause these flares that you see

03:27

over here so let's break down on each of

03:29

the elements that are causing this

03:32

characteristic this ghosting this look

03:34

that we get the first piece of this

03:36

puzzle is the ghosting itself which is

03:38

caused by light reflected the point

03:40

source of light reflected on multiple

03:43

surfaces optical surfaces within the

03:45

lens so it's bouncing around within the

03:47

glass that's inside the lens itself and

03:49

is happening in more than one place at

03:51

once

03:52

therefore you gain this overall soft

03:54

out-of-focus

03:55

ghosting and the ghosting is indicated

03:58

here with the yellow line so you can see

04:00

a circle around the ghosting the

04:02

ghosting is created by the light

04:04

reflecting off of the glass surfaces

04:06

right back and forth and that's why the

04:09

shape even of the ghost is reminiscent

04:12

of what the elements look like inside

04:13

the lens the second part of the flare

04:16

characteristic is the light that's the

04:18

stray light that is caused by the

04:20

scattering off of mechanical services so

04:23

as light comes in and bounces off a

04:25

mechanical

04:25

services and no matter what kind of dark

04:27

matte finish paint you put on the inside

04:29

of a lens or how hard you try to cut

04:32

back any kind of reflections we try very

04:34

very hard they're always going to be

04:36

some kind of light scattering off of

04:37

mechanical services and that is

04:39

indicated by this oval and you can

04:41

almost see the shape actually if you

04:43

look carefully of what looks like to be

04:46

a soft version of the barrel the the

04:48

shape of the lens barrel and that's what

04:50

we're seeing over there and there's

04:52

another piece of the lens flare that is

04:54

caused by the Polish optical service so

04:57

this would be your sensor itself or the

05:00

low-pass filter that's in front of the

05:02

sensor and a lot of digital cinema

05:04

cameras have that low-pass filter

05:06

sensors themselves are quite shiny

05:08

because there are silicon wafers so even

05:10

if you don't have a low-pass filter it's

05:12

still gonna reflect some light back so

05:14

as that life bounces around inside it

05:16

causes a forward scatter halo so that

05:18

effect is right here within the circle a

05:21

halo around the point source of light

05:22

and also coming forward a little bit

05:25

towards us so that mix with the other

05:28

two plus diffraction because diffraction

05:31

is caused by the shape and size of the

05:34

iris the bigger the opening more open

05:37

your irises lower the t stop you're

05:40

gonna see less of this distraction you

05:41

see a softer shape but as you close down

05:44

your iris you're going to see more of

05:45

the star pattern and that's the

05:47

diffraction caused by the light waves

05:50

going through a hole that's not

05:52

infinitesimally large because you know

05:54

your aperture of your camera is a

05:56

certain size so the wavelength of light

05:58

as it's going through it's going to hit

06:00

the edge of the iris and scatter a bit

06:02

and that's what's causing that

06:03

diffraction and you're gonna see that

06:05

diffraction change as your iris opens or

06:08

closes so these four pieces together the

06:11

diffraction the Ford scatter halo the

06:14

stray light and the ghosting together

06:16

really create what you see as the lens

06:19

flare all right now what does the lens

06:22

for look like so you've seen it in

06:23

movies and TV shows you know especially

06:26

when there's a Sun in the background

06:28

behind the characters or a bright source

06:30

of light you get these lens flares

06:33

sometimes you see the shape of the lens

06:36

itself better than other times it just

06:37

depends on the

06:39

and kind of coatings that are on the

06:41

lens so yes coatings are very important

06:43

to this conversation because it's

06:45

through the manipulation of the coatings

06:47

that were able to see certain types of

06:49

flare characteristics so let's talk

06:51

about optical coatings and what they are

06:53

and define them so what is an optical

06:55

coating well it's a coating that you put

06:57

and it's a very very thin layer by the

07:00

way I mean the coatings that we put on

07:02

glass are nanoparticles and they're very

07:05

very tiny they're quite small there are

07:07

300 times smaller than the diameter of a

07:10

human hair so you can see that you know

07:13

it's a very thin piece of material

07:15

that's right there on the glass on the

07:17

Left we see a lens that's been coated

07:19

and on the right we see that lens

07:21

flipped around so that we can see from

07:23

the behind it from the back we don't see

07:25

the coatings from the other side we just

07:27

see the light transmitted really well

07:29

and very very light reflected back out

07:31

towards the light source so that's why

07:34

it looks clear on the right side from

07:36

the back and you can see the coating

07:38

color on the left side so you can see in

07:41

this example over here with these two

07:43

lenses that if you have an uncoated lens

07:46

it's gonna reflect back a lot of the

07:47

light here we have a white light source

07:49

above the lenses and it's reflecting

07:50

back quite a bit on the left side

07:52

because that lens has every single

07:55

element inside uncoated there's no

07:57

coatings whatsoever the lens on the

07:58

right is coated like it normally would

08:01

be with t-star coatings so you can see

08:03

that the light is very very dull and

08:05

reflects back very little on the lens on

08:08

the right side and it lens on the left

08:10

side with no coatings who reflects a lot

08:11

and scatters all over the place so what

08:13

does that result in if you look at the

08:15

photographs on the right side of the

08:16

page you can see on the top and bottom

08:18

picture you know with and without

08:20

coatings what the what the lens does so

08:22

this is the exact same settings and this

08:25

is the same aperture same focusing

08:27

everything's the same just the lens has

08:29

been changed you can see that with the

08:31

lens that's been used with the coatings

08:33

results in an image that's very nicely

08:35

saturated great colors great contrast

08:38

range and a very clear image and the one

08:40

without the coatings the image has less

08:42

exposure has a lot of ghosting and a lot

08:46

of distractions and you can see that

08:47

it's very hard to see the

08:49

and 40 starter coatings was actually

08:51

registered in 1935 so we've been looking

08:55

at anti-reflective coatings for a very

08:56

long time was actually initiated because

08:58

of periscope submarines that were

09:01

surfacing and the periscope needs to see

09:03

at night and if you have a lighthouse

09:05

shining a light and it comes around into

09:08

the periscope it's really good at

09:09

ghosting you're not gonna be able to see

09:11

anything so that was one the onus is for

09:13

creating some kind of coating with

09:15

nanoparticles that would help that

09:17

situation and that led to the patenting

09:20

of t-star coatings in 1935 Alexander

09:23

McCulloch was very very important in

09:26

getting this done he was the head of

09:28

optical service laboratory in Sai Siena

09:31

our original headquarters in the

09:33

southeastern part of Germany and he

09:36

patent this technology and researched it

09:39

and then very soon after it was applied

09:41

into practice so the first T coated

09:44

lenses were single coatings and then

09:47

that was in the 1940s in the 1950s you

09:50

started seeing the multi-layered

09:52

coatings labeled M C from multi-layered

09:55

coating or T star for more than one

09:58

layer of T coating so T star has evolved

10:01

over the years it changes all the time

10:02

as T star evolves it gets better and

10:05

better year by year

10:06

so depending on what your a lens is

10:09

introduced let's say a high-end cinema

10:11

lens like an ultra prime master prime

10:13

with its T star XP coatings master

10:16

anamorphic s-- the formulation of the

10:18

coating that's used in the initial run

10:20

of those lenses has always kept up until

10:22

the end so even now if you purchase a

10:24

master primer master anamorphic lens

10:26

it'll have the same T star formula that

10:29

it did when it was initially introduced

10:31

into the market but every year we

10:33

improve the T star coatings a little bit

10:35

more a little bit more so you could even

10:37

see that difference that slight

10:39

difference in the CP 2s and CP threes

10:41

you can see it in the CP 3 is that they

10:44

do a better job of cutting back

10:46

reflected light and really cut back the

10:49

ghosting quite a bit in comparison to

10:51

the CP 2's so let's start with a bare

10:55

uncoated glass and see what is happening

10:57

and then try to understand what coatings

10:59

do differently so in the uncoated glass

11:02

you have

11:03

reflected light and that reflected light

11:06

is quite a bit when it's uncoated you

11:08

could see that the whole front element

11:10

of the lens lights up white and you get

11:12

a lot of ghosting and a lot of flare

11:14

characteristics and a lot of light

11:16

bouncing around inside heating

11:17

mechanical services and hitting the

11:19

sensor and bouncing around inside the

11:21

lens so what you want to try to do is

11:24

you want to cut back that reflection you

11:26

can see that a glass with high optical

11:28

power there's quite a bit of reflection

11:29

almost nine to ten percent of the light

11:32

is reflected back that's quite a bit so

11:34

what do you do well if you add the

11:36

anti-reflective coating it will cut back

11:38

that reflection that reflectivity now

11:42

the thing is if you have just one layer

11:44

of coating you're gonna cut back let's

11:47

say a very narrow band of colors of

11:50

light so in this case you have a coating

11:53

that's cutting back a lot of blues

11:55

greens and a little bit of yellow light

11:57

but it's letting pass or reflect back a

12:01

lot of orange or red light so that light

12:05

then the type of look that you're gonna

12:07

have over here is that a lot of blue

12:09

will transmit but the warmer colors will

12:11

reflect back this lens will look very

12:14

cool to the look so we put this on a

12:16

camera you're gonna get a cool look

12:18

you're gonna still get ghosting

12:20

especially with the warmer colors but

12:22

you get lows less ghosting with the

12:24

cooler colors now if you use multi

12:27

layers of coating so a multi-layered

12:30

anti-reflective coating like t-star

12:32

coating then you can then dial in the

12:34

reflectivity a bit more and every year

12:38

again it gets better and better

12:39

at trying to cut back the reflectivity

12:41

of all the wavelengths of light instead

12:44

of just a narrow band of wavelength of

12:46

light that is why supreme primes are

12:49

really really clean because they have

12:51

the best t-star coating that you can

12:53

find there are very recent lenses and

12:55

they're very neutral so they're not warm

12:58

they're not cool they're really right

13:00

there in the middle and there's a very

13:01

small band of light that's reflected

13:04

back so if you look at the surface of a

13:06

supreme prime lens I'll have a very

13:08

faint reflection and not a very bright

13:10

one whatsoever and of course the

13:12

ghosting will only be slightly only when

13:15

the light source is pointed

13:16

correctly into the lens and otherwise it

13:19

really holds the contrast range and

13:20

doesn't ghost very easily now if you

13:23

want to take this a step further you can

13:24

get creative by figuring out the

13:27

formulation of the tea start coatings

13:29

that will allow certain spectrums of the

13:32

light to go through and reflect or

13:34

reflect back and others not so in this

13:37

case we've allowed all the other light

13:40

to go through except for a very very

13:43

small band of blue and a little bit

13:46

wider band of yellow and orange and what

13:50

happens here is that you could be

13:51

creative so in the case of the radiance

13:54

lenses we just picked a certain band of

13:56

blue light and let that reflect around

13:59

inside the lens and transmitted

14:02

everything else really really well so

14:04

that results in the blue flare

14:06

characteristic because that's the one

14:08

that's reflecting and bouncing around

14:10

inside the lens and the other stuff is

14:12

just going through all the way so that's

14:14

how you kind of get creative to try to

14:17

figure out like what kind of flare

14:19

characteristic that you want now the

14:21

resulting image is a bit warmer and the

14:23

radiance lenses than the supreme Prime's

14:26

because if you're reflecting back two to

14:28

three percent of blue light a certain

14:31

spectrum of blue then just imagine that

14:33

what the resulting image is going to

14:35

look a little bit less blue so therefore

14:37

a little bit warmer so supreme prime

14:39

radiance are warmer in comparison to

14:41

supreme Prime's so that's a very

14:44

interesting side effect of what we were

14:47

trying to do when we created the

14:48

radiance lenses so let's look at you

14:51

know coding versus no coding because you

14:53

know they're in the market right now

14:54

there are some choices of lenses and

14:56

even super speeds that you can get for

14:58

super 35 sensors forms ice that have

15:00

been uncoated so what is uncoding versus

15:03

coating due to a lens well first of all

15:05

let's try to understand what's going on

15:07

here every optical surface loses some

15:10

kind of transmission to reflective light

15:12

so the reflection is is you know if it's

15:15

not 0% maybe it's point one percent of

15:18

point two percent as you saw with the

15:20

latest he start coatings it's very

15:22

little light and some spectrums have a

15:24

little bit more than others but it's

15:25

very little light that's actually

15:26

reflected back but there is some okay

15:28

now the thing is

15:30

is if you have uncoated lenses there's a

15:32

lot more light reflected back so let's

15:35

look at four different examples on the

15:37

left you have a lens where every single

15:40

element inside the lens was coated with

15:42

the t-star coating with the multi layer

15:44

to start coating and that's why you have

15:46

resulting t15 lens design okay so your

15:50

light transmission wide open is t15 now

15:53

if you just uncoated the front and rear

15:56

element you will get a lot of ghosting

15:58

but now you dropped your T stop a little

16:01

bit to T 1.7 now 50% of the elements

16:04

inside were coated then you would drop

16:06

down to T to 1 and if all of the lenses

16:08

were uncoated inside it would drop down

16:10

at T 2.9 so there's quite a large effect

16:13

that the coatings have in light

16:15

transmission by having an uncoated lens

16:17

you really are cutting back how much

16:19

exposure again on top of the fact that

16:22

you're gonna have a lot less contrast a

16:23

lot more ghosting so let's see what the

16:25

resulting effect is here are a few

16:27

examples with and without to start

16:29

coating uncoated and coated in this case

16:31

we don't have a point source of light so

16:33

there's not gonna be any flare but you

16:34

can clearly see that there's an exposure

16:36

difference between a coated lens and an

16:38

uncoated lens here's another example as

16:41

well where even a very small spectral

16:44

highlight in this case a balance of

16:46

highlights off of the car are already

16:48

ghosting the lens quite a bit and even

16:52

you know in this case where there is no

16:54

direct light source but the flowers are

16:56

quite bright and reflecting you know

16:59

just natural colors back from a light

17:00

source like sunlight coming from a

17:02

window it again has an effect a ghosting

17:05

effect on an uncoated lens and it

17:07

becomes even harsher when there's a

17:08

direct light source I'll give you one

17:10

more example over here where the light

17:11

is just off to the side in the corner

17:13

and it still has quite a large effect we

17:16

don't coat the lenses whatsoever so

17:18

coatings really do play a part in the

17:21

image rendition and you know making sure

17:24

that you get a clean high contrast and

17:26

image necessitates having

17:28

anti-reflective coatings especially

17:30

multi-layered anti-reflective coatings

17:32

on the lenses themselves so how do you

17:35

create a lens flare that's creatively

17:37

that looks good and people want to use

17:41

what do you have to do well first of all

17:43

you have to listen to what everyone's

17:45

asking for so what we did first was get

17:48

a lot of feedback from cinematographers

17:50

about what they're looking for because

17:51

with the advent of the full-frame

17:54

sensors camera sensors and other similar

17:57

camera sensor sizes to full-frame

17:59

full-frame plus let's say like in the

18:01

red monstro the Alexa LF a left mini and

18:04

of course a Sony Venice and other camera

18:06

system see seven hundred and others you

18:08

are starting to see the need in a desire

18:10

to use lenses that cover these larger

18:12

sensors now the thing is we have lots

18:15

and lots of glass that's out there for

18:16

super 35 lots of vintage glass older

18:19

stuff things with cool characteristics

18:22

lots of different choices from many

18:23

manufacturers from over decades of

18:27

inventory but we don't have as many

18:29

choices in full frame or full frame plus

18:32

the choices are starting to come there

18:33

is a lot of new manufacturers and lot a

18:36

new glass coming and a lot of new

18:37

products but the choices are a lot less

18:40

than what you have in super 35 now the

18:42

thing is that means that there's also

18:44

less choices of lenses with

18:45

characteristics that you might want

18:47

because cinematographers sometimes are

18:49

looking for characteristics to let's say

18:51

muddy up the lens a little bit or muddy

18:53

up the image a little bit because they

18:55

want to put a signature look

18:57

onto their project you know not every

18:59

project should look the same so a film

19:01

noir versus the comedy versus you know a

19:04

horror or an action film they're all

19:07

gonna have different kinds of looks

19:08

especially with all the different

19:09

cinematographers out there they're all

19:11

going to put their signature look onto

19:14

the image and a way to do that is to be

19:16

able to use lenses that have cool

19:18

characteristics interesting

19:19

characteristics or character that can

19:22

really apply itself into the image and

19:24

really create something robust and

19:26

unique and different that makes you

19:28

stand out from the crowd so the demand

19:30

for classic lenses is really skyrocketed

19:32

in recent years since the advent of the

19:35

digital cinema technology because

19:36

digital soman technology is very clean

19:38

sensors are very clean compared to film

19:40

and and the way film ran through cameras

19:43

and you know all the other things that

19:44

came with it

19:45

and film was also a 3d medium it's a

19:48

it's a thick piece of plastic if you

19:50

think about it compared to a silicon

19:52

wafer which is very very thin in two

19:54

in a lot of respects so there's a big

19:57

need and drive to find lenses from these

20:00

eras to apply to modern day however

20:03

classic lenses are unreliable at times

20:06

and difficult to service because a lot

20:08

of times they weren't designed for

20:09

things like motors for example to be

20:11

used on set so there are some drawbacks

20:13

so what we did was we went into did some

20:17

research for example one of the places

20:18

we went to his caslo camera in Los

20:20

Angeles and really don't deep into with

20:24

Benjamin and our team to figure out like

20:26

what is it people like about super ball

20:29

tars or Canon K 35 or Cooke speed pink

20:34

rose or SuperSpeed lenses or Kawas what

20:37

is about these you know vintage lenses

20:39

that people like that they're really

20:40

drawn to so the lens techs at caslo were

20:44

able to give us feedback based on what

20:45

they heard or the conversations they

20:47

have with cinematographers as to what

20:49

they liked and one common theme that

20:50

came out of it was blueish flares and

20:53

warm tones and so a lot of these lenses

20:56

were mapped and carefully examined and

20:59

recorded so that we can see what kind of

21:01

characteristics they're exhibiting and

21:03

then you try to consider okay well

21:05

what's the intensity of these flares

21:08

where's the color of the shape the

21:10

behavior where you stop down the lens or

21:11

you open it up the position the frame

21:13

with respect to a light source and the

21:16

overall effect on contrast what are they

21:17

all doing and is it good or is it bad do

21:20

people like it what is it they like

21:22

about it and you really try to

21:23

understand what what they're doing so

21:25

once you have this information you want

21:27

to decide all right well what is the

21:30

look gonna be for this new line of

21:31

lenses these radiance lenses they're

21:33

supreme prime lenses that they're gonna

21:34

be modified and the way we're gonna

21:36

modify them is playing with the coatings

21:38

as we've seen earlier in the

21:39

presentation we're able to do some fun

21:41

things so what are we gonna do well

21:43

we're not just gonna uncut the lenses

21:45

because if we do that we have the

21:46

disadvantages that we talked about you

21:48

know we are gonna lose our contrast you

21:50

have a lot of ghosting it can be very

21:51

hard to use the lens but at the same

21:53

time we want to create our own look be

21:55

consistent over the lock the entire lens

21:57

family so that we have a very similar

21:59

flare characteristic between all the

22:00

different focal lengths we want to be

22:02

controllable meaning that if there's not

22:04

a light source directly point the camera

22:06

it shouldn't flare up and goes

22:09

so that you can make it usable you know

22:11

as long as you flare off the light

22:12

sources it's gonna behave like a regular

22:14

Supreme Prime and you want to have the

22:16

right intensity of flair to you don't

22:18

want to be overpowering or just not

22:20

there enough so you can't even see it at

22:22

all any of course he want to make sure

22:24

that you have a very low loss of light

22:26

transmission because you want still the

22:28

t stop is still gonna be t15 if you do

22:31

your job right and that's exactly what

22:33

happened with the radiance lens is the

22:34

t15 there's seven focal lanes and they

22:36

match really well with one another so

22:38

now that you know what you're trying to

22:40

achieve you figure out how you're gonna

22:42

get there so the first thing we decide

22:44

is that we're gonna modify the T start

22:47

coating and create a t-star blue and the

22:50

T star blue will we'll take a narrow

22:52

band of blue spectrum and it will

22:56

reflect it back more than it reflects

22:58

anything else so it will be the same

23:00

type of anti reflectivities for every

23:02

other piece of the spectrum except for

23:04

blue so we call this T star blue now we

23:06

got to choose which elements inside the

23:09

glass because there's so many of them

23:10

you're going to apply the T star blue

23:13

coating so that you get the right kind a

23:16

combination of ghost and that T star

23:18

blue has to be the right color has to

23:20

render and reflect the right color to

23:23

caused that flare now the thing is if

23:25

you have five elements that you choose

23:27

lens elements inside a lens design you

23:30

could have fifty five individual ghosts

23:32

if you choose fourteen of them you get a

23:34

four hundred six individual ghosts so

23:36

that's a lot well let's say let's take

23:38

the 21 millimeter for example of the

23:40

supreme prime we decided to go with six

23:43

surfaces that we were going to coat

23:45

differently inside there with a t-star

23:46

blue inside a fourteen element lens but

23:50

that means there could be over 200

23:52

million combinations of which of the six

23:55

surfaces in what combination of the

23:57

fourteen you're going to use so we got

23:59

to simulate what these choices will do

24:02

in a computer before we do it in real

24:04

life because we can't keep creating an

24:06

infinite amount of prototypes so that's

24:09

exactly what happened here because Zeiss

24:11

has a super computing technology to be

24:13

able to simulate the flare

24:15

characteristics before you actually see

24:18

it optically in an actual printed design

24:21

or created design so in this case we

24:24

looked at all the different combinations

24:25

and Benjamin Volker spent a lot of time

24:29

figuring out which combinations of the

24:32

different elements are gonna work

24:33

together to create this kind of flare

24:36

characteristic we're looking for on the

24:38

right side we see a computer simulation

24:40

of a flare characteristic of a supreme

24:42

prime 21 that we settled on but in the

24:45

interim there were a lot of different

24:47

experiments because you have to figure

24:48

out what spectrum of blue light you

24:50

wanted to reflect back what that

24:52

spectrum is going to look like is it

24:53

warm or is it cooler how you gonna push

24:55

it you wanted to know how many elements

24:57

inside the glass you want to coat with

25:00

these t-star blue treatment and you want

25:02

to know exactly you know the intensity

25:05

that you're trying to go for

25:06

so it took a bunch of experimentation a

25:09

lot of you know trial and error but on a

25:11

computer system so it didn't have to be

25:14

happen with actual products you didn't

25:16

have to actually create the lens this

25:17

was all done in the computer and then

25:19

finally on the seven focal lengths we

25:22

settled upon a set of flare

25:24

characteristics that we really really

25:25

liked and that worked well with one

25:28

another so here you see the supreme

25:29

prime 25 through 100 and this is the

25:32

radiance version and in each one the

25:35

elements were chosen specifically inside

25:38

the lens design to give that kind of

25:40

reflectivity that's gonna result in the

25:42

ghosting that we're looking for the

25:44

flare characteristics that we're looking

25:45

for so these were all designed you can

25:47

see the flares at different T stops here

25:49

t 1 5 t to 85 6 this was all purposely

25:53

chosen and picked to work out this way

25:55

so then you have to go from design to

25:58

implementation so when we actually built

26:01

the lens design the optical prototypes

26:04

and tested them with the kind of T star

26:07

coding application that was planned

26:09

through the computer simulation it

26:11

worked out perfectly on the left you see

26:13

a supreme prime 35 millimeter shot at t2

26:17

a in camera and with a point light

26:20

source and you're seeing the kind of

26:22

flare characteristics you get on the

26:23

right you're looking at the computer

26:26

simulation of the exact same settings a

26:28

supreme prime radiance 35 so you can see

26:31

the simulation was very very close in

26:33

nature to what

26:35

came out of the camera and which means

26:37

that by designing in a computer system

26:39

we were able to do something which would

26:42

practically be impossible if these

26:44

lenses had to be created in prototypes

26:45

because you would have to go through

26:46

hundreds maybe thousands of different

26:48

prototypes and combinations before you

26:50

found what really works well together so

26:53

using modern technology and using modern

26:56

science you're able to figure out from

26:58

the get-go what you're looking for and

27:00

design it that way and that's exactly

27:02

what we did with the supreme prime

27:03

radiance lenses from the 21 through the

27:06

100 millimeter you can see the result

27:08

here at t15 t28 and t56

27:12

all shot in a camera so let's take a

27:15

look at a comparison video that shows us

27:18

the difference between the original

27:20

supreme primes and the supreme prime

27:22

radiance lenses

27:24

[Music]

28:51

here we have a video from Rodrigo create

28:54

Oh a SC giving his thoughts about what

28:57

he thought about the radiance for lenses

28:58

when he used it for a special project

29:00

called R&R the job of a cinematographer

29:02

is to choose the elements and the tools

29:05

were gonna use to tell a story to help

29:08

tell a story

29:09

RNR actually means receive and release

29:12

prisoners are admitted in and parolees

29:15

are let out the image that came to my

29:18

mind was of a person leaving prison and

29:21

seeing out the windows as as a person's

29:24

walking down the hallway and the flare

29:26

that I would cause and the flare

29:29

represents many things in this case but

29:31

maybe it's hope maybe it's you know the

29:34

Sun outside it's something to reach for

29:37

so the light sources became a very very

29:40

important point of the story and the

29:43

lenses allowed me to utilize the

29:46

characteristics of them for storytelling

29:48

[Music]

29:50

my name is Rodrigo Prieta and I was a

29:52

director and cinematographer of R&R

30:00

thank you so much for joining us today

30:02

for the city of log episode two I hope

30:05

you learned something today and really

30:07

got some great information if you want

30:08

more information you could actually

30:09

click on this link over here lens spires

30:13

ice comm if you look for an article from

30:16

Ghostbuster to ghost father you're gonna

30:18

be able to see a full short film

30:20

directed by Paul Mignot called all blood

30:22

runs read with copious use of the

30:25

radiance lenses and you're going to be

30:27

able to see some really cool use of

30:29

these lens characteristics for a

30:31

dramatic short film and you'll be able

30:33

to read all this information that I just

30:35

gave you an article form so you can get

30:37

better versed at exactly what's going on

30:39

here it's exciting technology it's a lot

30:42

of fun and we really encourage you to

30:44

try out the radiance lenses for yourself

30:45

so for your upcoming projects consider

30:48

it it might be the kind of look that

30:50

you're looking for and again it's the

30:52

same lenses as the supreme primes but

30:54

with a different treatment of coating

30:55

that causes these flare characteristics

30:57

so I hope you got something out of

30:59

today's episode and please give us your

31:01

feedback and let's get information about

31:04

what we should talk about in the next

31:05

episode all right take care everybody

31:07

and be safe

00:00

hi my name is neho patel i'm the cinema

00:02

sales director for zeiss

00:04

in the americas and i know a lot of

00:06

people are home right now

00:08

uh you know because of the virus that's

00:10

going around and it's better to be home

00:12

and do social distancing

00:13

so what we decided to do is keep up our

00:16

educational

00:18

plans that we always are trying to you

00:20

know work with the community and

00:22

do more educational stuff so what we've

00:24

done is we put together

00:26

this first ever zeiss cine vlog

00:29

and this vlog first episode we're going

00:31

to talk about how to create

00:33

a cinematic look with your camera system

00:36

and uh you know hopefully answer some

00:38

questions and then

00:39

if we get some interactivity then we'll

00:42

have new questions that we can answer

00:43

for

00:44

the episode number two so please

00:46

interact you know if this is on facebook

00:48

youtube or wherever else you see this

00:49

video

00:50

go ahead and comment and let us know

00:52

what kind of questions you have

00:53

about camera and optics and let's get

00:56

right to it so

00:57

this presentation is about you know

00:59

cinematic look but it's going to apply

01:00

to any kind of digital camera system

01:02

that you want to use so

01:04

everything from dslr all the way up to

01:06

the highest end of

01:07

digital cinema cameras that you see

01:09

right now in the market

01:10

uh like the red monstro or red helium

01:14

the sony venice and of course the alexa

01:16

lf

01:18

and lf mini aside from that any other

01:20

sensor that you're using you could

01:21

really use these same principles

01:23

so what are we talking about right now

01:25

so we're talking about cinematic look

01:26

versus

01:27

you know a more videoish look that you

01:29

would get if you kind of just

01:31

use the wrong settings on the digital

01:33

camera system so what do you have to get

01:35

or how do you achieve a cinematic look

01:37

well there's a few things that you can

01:39

do in the camera and lens

01:40

combinations and the settings to kind of

01:42

help you out to really get there

01:44

so first of all you want to get shallow

01:46

depth of field and you get this with a

01:48

combination

01:49

of you know using uh the camera settings

01:51

a certain way in terms of the iso and

01:54

then using your lens

01:55

with a t-stop or an f-stop that's more

01:57

open

01:58

or closer to you know an f one four

02:02

f-one five two eight or something like

02:04

that instead of using

02:06

f-16 11 which is really closed down

02:09

uh you can change the look that you have

02:12

by

02:12

filming a wide contrast range and then

02:15

outputting a low contrast image

02:18

instead of a high contrast image this

02:20

will really help you get more of a

02:21

cinematic look and then of course

02:23

motion blur so this is especially

02:25

important when your image is in motion

02:27

you want to have the correct motion blur

02:30

that and that gives you the right look

02:32

you know for what you're trying to

02:33

achieve so let's break each section down

02:35

one by one

02:36

and go through it first of all we have

02:38

depth of field

02:40

the idea of the shallow depth of field

02:42

that you see in cinema

02:43

is to draw your eye as a viewer and

02:47

allow you to focus on what the

02:49

storyteller is trying to get you to

02:51

focus on

02:52

so that's a really important part of

02:54

using the shallow depth of field

02:56

so for example in these two examples you

02:58

see a more videoish look

03:00

on the left with the deep uh depth of

03:03

field

03:03

you know the deep focus and then a more

03:05

cinematic look with the shallow depth of

03:07

field with the deep

03:08

focus you know your eyes go everywhere

03:10

you start to see details

03:11

in the cityscape in the trees and the

03:14

flowers

03:14

and the building and you know it's a

03:17

good idea because

03:19

you're doing a yoga video here so you

03:20

really want to see all the different

03:22

positions and the yoga teacher wherever

03:25

they are you don't want it to be out of

03:26

focus

03:27

um so it makes sense to have a deep

03:29

focus but the resulting image of course

03:31

is more video like and less cinematic

03:33

whereas on the right

03:34

you all really have a very shallow depth

03:36

of field and the shallow depth of field

03:38

really tells a story because

03:39

it focuses on the two main characters

03:42

that are most important right there in

03:43

the middle

03:44

the foreground's out of focus the

03:45

background's out of focus there's a nice

03:47

bouquet

03:48

um you know nice imagery going on here

03:50

nice colors but really

03:51

the focus is what's drawing you you know

03:54

being so shallow

03:55

to look at the characters really

03:56

concentrate on what they're doing next

03:58

and that's really important in

03:59

storytelling another example is

04:01

you see right here on the left a deep

04:04

focus you know you see this

04:05

garbage in front of a garage there's a

04:08

lot of detail there there's a lot of

04:09

things to see

04:10

a lot of things distract you this can't

04:12

be a quick shot

04:13

you know in a movie because there would

04:14

be too much stuff going on

04:16

and just too much information whereas

04:19

the picture on the right of the security

04:21

guard with the

04:21

shallow depth of field in the background

04:23

really helps you concentrate you

04:25

understand that the guard is

04:26

at some crosswalk and it's a urban

04:29

landscape

04:30

you know probably a nice area to go

04:32

shopping it looks like in the background

04:33

there's some

04:34

shops and people there but but it really

04:36

is a story about the security guard

04:38

so therefore the concentration is there

04:41

so let's show you this in motion

04:43

this is an example actually from a short

04:45

film called morpho

04:46

one of our ambassadors helped us with

04:48

this so you can see here the same

04:50

cityscape

04:51

where right now you see a deep focus

04:54

can now be transformed into this sci-fi

04:57

looking shot

04:58

and very cinematic with the very shallow

05:01

depth of field

05:02

so again it's the same location same

05:04

place

05:05

and you're seeing a big difference in

05:07

how the locations portrayed

05:09

based on the shallow depth of field and

05:11

the camera work and where the focus lies

05:13

of course it's very important to you

05:15

know have good focus

05:17

and have a good focus puller that's

05:19

really paying attention because you want

05:20

to keep the focus

05:21

even though the the character in this

05:24

example is closer and further away from

05:26

the camera at different points

05:28

so another example of depth of field is

05:31

right here this is a documentary called

05:32

through the thick

05:33

but as you can see there's still a

05:37

deeper depth of field but still pretty

05:38

shallow so the foreground objects are

05:40

out of focus

05:41

the far background is out of focus as

05:43

well but in the middle there's quite a

05:45

bit of focus now it's not to say that

05:47

you know you need to have a shallow

05:48

depth of field at f28 or f2 or f14

05:52

you know you're gonna get very shallow

05:54

there here you can still get a shallow

05:56

depth of field look

05:57

but it's probably closed down to more

05:58

like a five six or an eight

06:01

using an nd filter um outdoors into

06:03

bright sunlight

06:04

but you really get a nice look over here

06:07

even though it's a doc style shoot

06:09

it's very much a cinematic shot so in

06:12

this last example you can see

06:14

pulling focus how that changes the focus

06:17

of what you're supposed to look at so

06:19

now you're using this

06:21

focus creatively the shallow depth of

06:23

field to go from a foreground object to

06:25

the background object

06:26

to show you know the masks in the

06:28

foreground are actually being made by

06:29

the person in the background

06:31

so this is a very good example of how

06:34

shallow depth of field because that can

06:35

then be used with a focus pool

06:37

so just to go over it one more time for

06:40

shallow depth of field

06:41

open the iris of your lens uh adjust the

06:44

iso as necessary as needed

06:46

use nd filters that needed to lower the

06:48

intensity of light so you're not dealing

06:49

with a lot of bright

06:51

and having to you know close down your

06:53

iso a lot if it doesn't work for your

06:55

camera system

06:56

a lot of camera systems have preferred

06:58

iso settings

06:59

like 500 in the sony venice 800 and the

07:02

alexa

07:03

where they have a nice range you know

07:05

above and below

07:06

um that iso that gives them a knife

07:09

gives you a nice range for

07:10

for exposure so sometimes you have to

07:12

use well a lot of times you have to use

07:14

nd filters to really

07:15

get you to the middle ground where you

07:17

need it so keep that in mind

07:19

and of course the more shallow depth of

07:21

field the more critical focus is going

07:22

to be

07:23

so the next part of creating a cinematic

07:27

image

07:27

is low contrast so low contrast is

07:30

another way which

07:31

involves not just you know shooting but

07:33

also processing on the back end

07:35

so you need a combination of the two for

07:38

example in the still

07:39

image you can take like a raw image in

07:41

your in your

07:42

photography camera still image and then

07:44

process it so that you have a pretty

07:46

good dynamic range

07:47

that you're portraying that dynamic

07:49

range will give you a lot of information

07:51

the blacks and the grays

07:53

which then creates a more low contrast

07:56

image instead of a high contrast image

07:58

now you have to have a good lens too so

08:02

the lens has to give you a lot of

08:03

information here we see an example

08:05

of a high contrast and a low contrast in

08:08

a similar situation

08:09

you can tell that already just by

08:11

looking at this low contrast image on

08:13

the right side

08:14

it looks more cinematic you know being

08:16

able to see

08:17

different tones in the skin um you know

08:20

different shades

08:21

in the shirt and also in in the

08:23

background

08:24

compared to the image on the left which

08:26

looks very commercial and very poppy

08:28

but at the same time not very cinematic

08:30

it's the really the low contrast that

08:32

makes the big difference here

08:34

we take a look at the two next to each

08:35

other that really shows you how

08:37

just using a low contrast look can

08:39

really give you a lot of information

08:41

that is softer and is nice to look at

08:44

and kind of

08:45

makes the image look really pretty at

08:46

the same time giving you enough

08:48

information to help tell the story

08:50

here's another example of the same

08:52

subject in this case

08:54

you know a woman sitting in a lighting

08:56

studio or photography studio

08:58

a high contrast image and a low contrast

09:00

image the low contrast image just makes

09:02

your skin look softer

09:03

gives you more information or more you

09:06

know colors to kind of play with

09:08

um it is more muted this photograph on

09:11

the right side

09:12

and then the left side so there's some

09:13

artistic choices made here

09:15

in terms of coloring you know blue in

09:17

the shadows

09:18

putting some blue colors in the shadows

09:20

things like this are nice tricks

09:22

in post-production to really give you a

09:25

signature cinematic look because

09:27

you really don't want to look like

09:28

everybody else all the time sometimes

09:30

you really want to look different

09:31

and here's how you can do it by playing

09:34

with the contrast but also the colors

09:35

that you use

09:36

in the darks and in the skin tones again

09:40

a low contrast image versus a high

09:41

contrast image

09:44

just the look that you're getting in the

09:46

low contrast image

09:48

automatically just takes it to another

09:50

level in terms of a cinematic look

09:52

um you know when you want to do this in

09:55

camera you got to record

09:56

with a flatter gamma curve now this is

09:58

sometimes difficult in dslrs but a lot

10:00

of

10:00

dslrs are also letting you record like

10:03

in the a7 camera the mirrorless system

10:05

from sony

10:06

you can actually use uh you know a

10:09

s-log type of setting so you can get

10:12

this kind of flatter gamma curve

10:14

a log c and alexa red has its own

10:18

gamma curve built in and these gamma

10:20

curves really let you have more

10:22

information now

10:23

of course it can be represented

10:24

correctly maybe on some on monitors

10:27

unless you have an hdr monitor you can't

10:28

really see a lot of these exposure

10:30

levels but they're there just like

10:32

in raw photography and still photography

10:34

your exposure level can change quite a

10:36

bit

10:36

just like in raw photography still

10:39

photography

10:40

your exposure level can change quite a

10:41

bit because your sensor is capturing a

10:43

lot of information

10:44

same thing with cinema digital cinema if

10:46

you shoot with a

10:48

flatter curve a gamma curve that allows

10:50

you to see more information you can

10:52

record it

10:52

and then creatively use it later you

10:54

also want to use lenses that have great

10:56

neutral light balance that

10:58

just like this lens that we're using

10:59

here which is a milvis lens from zeiss

11:02

you want to be able to see lots of

11:04

different levels of exposure at the same

11:06

time

11:06

a good dynamic range and a very very

11:08

good piece of glass that has

11:10

great anti-reflective coatings and good

11:12

color balance will actually give that to

11:13

you

11:14

so you have that information these kinds

11:16

of lenses have great

11:17

mtf curve basically the performance of

11:19

the lens from center to edge is very

11:21

good

11:22

it gives you good light transmission and

11:24

really accurate colors

11:25

and great skin tones and that's really

11:27

important basis to start from

11:29

to try to create these looks and of

11:30

course when you're in post that's when

11:32

you do a lot of these

11:33

adjustments the next step that you want

11:35

to take when you're trying to get a more

11:37

cinematic image

11:38

and this is really important for motion

11:40

is motion blur you want to get the right

11:42

type of motion blur

11:43

you don't want a lot of information that

11:46

again

11:46

if it's too sharp and there's too much

11:48

information on screen there's too much

11:50

for people to pay attention to

11:52

when you have motion blur you add it

11:53

correctly you're making sure that

11:56

your audience focuses on the subject

11:58

matter and what's important

11:59

and that's really the key to motion blur

12:02

is to

12:02

make you again focus on the action the

12:05

person the object

12:07

you know the talent instead of focusing

12:09

on everything else

12:10

so again if you have high shutter speed

12:13

yes you can get very sharp

12:14

clean images um that really are like you

12:17

know

12:18

holding something in in time and and

12:20

timeless but at the same time

12:22

for motion it might not give you exactly

12:24

what you want you have to

12:26

understand where to start from first to

12:28

kind of break the rules and then play

12:29

with it so

12:30

on the right side we see here with the

12:32

low shutter speed

12:33

large shutter angle you know you're

12:35

getting the motion blur so you're

12:37

gonna see the water coming up with the

12:40

feet it's gonna look really interesting

12:41

on the left with the high shutter speed

12:43

smaller shutter angle

12:44

you get a lot of information but but it

12:46

might be too much you're getting a lot

12:48

of depth

12:49

and you're getting a lot of information

12:50

that might overload you and not

12:52

allow you to look where you really need

12:54

to um in this situation

12:56

same with these examples here the one on

12:58

the left it's really interesting

13:00

great for a fight scene uh but not

13:03

necessarily

13:04

great for when you're trying to tell the

13:06

story of somebody and trying to follow

13:07

them

13:08

on the right even though you can't

13:10

really see what's going on around

13:12

the driver this is a very cinematic you

13:14

know action-packed type of shot

13:16

because you're really focused on you

13:19

know the speed lines and everything else

13:20

making everything look super fast and

13:23

energetic you know this image is a still

13:24

image

13:25

but it still looks like it has a lot of

13:26

energy it's making you feel like it's

13:28

going forward

13:30

well just imagine in motion it's going

13:31

to do more of that so

13:33

creatively you have to know where to set

13:35

your shutter angles and shutter speeds

13:38

to get what you want so let's take a

13:40

look at this one example here

13:42

from all blood runs red which is a film

13:45

that was

13:45

uh helped in part by zeiss and you could

13:48

actually see

13:49

in this boxing sequence the shallow

13:52

depth of field mixed with the

13:53

motion blur really makes you want to

13:56

concentrate and pay attention to what

13:58

the boxer is going through

14:00

you're trying to keep up with the boxer

14:02

you're trying to understand

14:03

the moves and kind of like what his

14:05

technique is

14:06

and that's part of it's because it is

14:08

out of focus a little bit here and there

14:10

and there it is searching but at the

14:11

same time you know the motion blur

14:13

helps you really feel the energy because

14:16

the boxer looks like

14:17

he's moving really really fast and

14:18

another example if you

14:20

are doing slow-mo then you're going to

14:22

adjust your shutter you can't just have

14:24

180 degree shutter

14:25

for example in this case with high speed

14:28

recording like on a phantom you're going

14:30

to have to have a different shutter

14:31

angle altogether

14:33

that way you capture the motion

14:35

correctly and still get a little bit of

14:38

motion blur so it looks energetic it

14:39

looks like it's moving forward

14:41

it doesn't look like the object's very

14:42

stilted it looks very smooth

14:45

okay so how do you do that well this is

14:48

what you do first you figure out what is

14:49

a 180 degree shutter

14:51

180 degree shutter if you're using

14:53

shutter speed instead of shutter angles

14:55

is one over two times fps so

14:58

at 24 frames a second 180 degree shutter

15:01

would be

15:02

a shutter speed of 1 48th okay that

15:05

means

15:06

at that point you get pretty decent

15:08

motion blur

15:09

um it looks very similar to what film

15:12

was giving you back in the day

15:14

because 180 degree angle would be about

15:16

150

15:17

of shutter speed but if you want to play

15:20

with it

15:20

you could do two different things you

15:22

could make a smaller angle for sharper

15:24

edges and

15:25

more energetic type of look uh and of

15:27

course this will give you much more

15:29

detail

15:30

and you can do a lot larger shutter

15:32

angle for more motion blur

15:34

so let's calculate a smaller shutter

15:35

angle so if you're doing a 90 degree

15:37

shutter angle instead

15:38

then you're going to have to do

15:41

something with your shutter speed

15:42

because now

15:43

you know your shutter is going to change

15:45

instead of 180 degrees

15:47

if you go to 90 your shutter speed is

15:48

going to be much faster

15:50

so it's going to be twice of 148 so it's

15:53

going to be about 1 100 of a second and

15:55

at that point you're going to have to

15:56

let more light in

15:57

because you've shrank the shutter angle

16:00

so therefore now you need more light to

16:01

expose

16:02

so let's go the other way if you're

16:03

doing a larger angle let's say if you go

16:05

from 180 degrees to 270 degrees you're

16:08

going to get more motion blur

16:09

so you're going to get even more blur

16:11

more blur lines but maybe you're doing a

16:13

dream sequence it makes a lot of sense

16:15

so in this case you know you're going to

16:17

have to lower your shutter speed so

16:19

maybe your shutter speed

16:20

would go down to 1 125th or something

16:24

like that

16:24

to give you that larger angle that'll

16:27

basically slow down

16:30

how things are recorded in the digital

16:31

sensor to emulate

16:33

what is happening on a film's uh film

16:35

play

16:36

so this is the kind of the creative ways

16:38

you can do it now let's say you're

16:39

shooting high speed

16:40

well this changes everything right so if

16:42

you're shooting if at

16:43

twice the speed of 24 frames a second 48

16:46

frames a second

16:47

then your shutter speed is going to be

16:48

one over two times 48

16:50

one one hundredth of a second once again

16:52

you're not in a creative way but trying

16:54

to maintain the 180 degree angle

16:56

this is what you're gonna have to do if

16:57

you go for high speed shots

16:59

okay so those are the things that we say

17:02

will help you create a cinematic look

17:04

those three things the shallow depth of

17:06

field

17:06

the low contrast and the motion blur so

17:09

in conclusion

17:10

how do you achieve a cinematic look well

17:12

we talked about three different things

17:13

that you could look out for

17:14

shallow depth of field low contrast and

17:17

motion blur

17:18

these are the things you can play with

17:20

to try to get that cinematic look

17:22

from any kind of camera system so go out

17:24

pick up a camera system

17:26

whatever you have nearby i know you're

17:28

shutting at home or not working

17:30

working from home right now but now is

17:32

your chance to pick up a camera

17:33

learn some new techniques and play with

17:35

it and then respond to us

17:37

and see what kind of topics we should

17:39

cover for the next round

17:40

so i want to thank our our um supporters

17:43

and of course thank uh unsplash and

17:46

pixabay because that's where we found a

17:48

lot of these photographs

17:50

and of course all of our zeiss

17:51

contributors to our youtube and vimeo

17:53

channels

17:54

that are really contributing amazing

17:56

content that we were able to use as

17:57

examples here

17:58

you can see all of this at the zeit

18:00

cinematography page on youtube

18:02

so thank you very much you have a great

18:05

evening

18:06

and please let us know what kind of

18:08

topics you want to talk about

18:10

and we'll cover them in the next vlogs

18:12

episode

18:13

[Music]