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by Jorge Córdoba

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Cine lenses do have to overcome certain limitations that don't really apply to still cameras. Still lenses will usually exhibit the phenomenom of "breathing" during focus. Breathing will cause the image to appear to get larger when the focus shifts, a non-issue for a still camera, but a big issue when doing motion picture recording. Fixing that isn't free, ...


The comments about throwing the background out of focus are definitely on-the-money. I would also suggest that longer lenses tend to yield more "cinematic" results. (Which is not to say that wide / slightly-wide perspectives can't also be dramatic. But when shooting video with a wide lens, perspective distortion starts to get quite noticeable as you pan ...


That combo should be fine as suggested above, however the actual deciding factor for all lenses is not the WEIGHT of the lens, but the TORQUE applied to the mount. Torque is the actual pulling/twisting force, which is (basically) weight X distance. (also the lens's centre of gravity has a large effect on this calculation, it is NOT simply length of lens X ...


Absolutely they can. My roommate in college was studying film, and in the classes on cinematography they taught about compositional rules such as rules of thirds, etc. The fact that the picture now has motion in it doesn't negate how we emotionally process a picture. The feeling of dynamism is enhanced when the camera is moving diagonally along a road ...


A huge factor is that cine lenses are most often color matched so that you can swap lenses or use multiple cameras and you are guaranteed an identical color balance from each and every camera. You won't notice subtle color shifts in single photos of a series, but with an animated film image and lots of edits... it's painfully obvious. Color matching is so ...


The lens still weighs less than the camera. Barely. This is significant because the mount flange is designed to handle at least that much weight so that the camera will not place too much stress on the connection when a much heavier lens is being supported by a tripod or monopod and the camera body is hanging unsupported from the lens.


It is probably most accurate to think of the basic composition rules of photography as a subset of the rules that we use in cinematography. Examples of rules that apply to both photography and cinematography include things like: The rule of thirds Diagonal lines Geometric shapes Repeated patterns Non-standard angles Color palette Depth of Field Choice of ...


There are definitely some differences, but there are some similarities. Among them are: Keep the scene as clutter free as possible, unless there is a specific reason for the clutter. Keep a tight focus on the subject in general works better than distant shots. Alot of lighting tricks also apply the same in each realm Rule of thirds is definitely a good ...


A lens for cinematic effect can have two characteristics: A wide angle(for letterbox aspect ratio) With very high aperture(for getting bokeh effect ie. the out of focus effect) A suitable lens can be as mentioned in the comment a Panasonic Leica 25mm f/1.4 Apart from this the most cinematic effect is achieved in post-processing of the image like ...


They using it always. Of course not all directors/directors of photography, but for example Spielbierg movies. Near all scenes using rule of third and/or golden rule. Simple tricks always works. Rule of third, three plans etc. Here samples, not "pure" rule of third: Just few random samples from the web. He always using same tricks as you see, but doing ...

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