Small Sensor fears? BlackMagic Camera with Anamorphic Lenses
With all the talk of the new BlackMagic camera and its small sensor (apprx 2.4x crop), many people are rightfully nervous to make the leap due to crop factors and wider depth of field. This may actually turn out to be the perfect camera for anamorphic lens lovers in the end…even more so if BMD listened to Andrew Reid’s (EOSHD) request to add a firmware update allowing a 4:3 shooting mode.
But the other main reason being that when using anamorphic lenses, it not only gives you back your wider field of view, it will also make your depth of field even narrower.
Basically, if you use a 2x anamorphic lens with a 100mm prime SLR lens, you will end up with a 50mm field of view but with a 100mm shallow depth of field. That’s one of the reasons filming with anamorphics looks so dramatic (along with vertical bokeh and flares).
Typically you can use an 85mm (or tighter) prime lens with an anamorphic lens on the full frame Canon 5D. Unless you’re lucky enough to have an Iscorama, in that case you can use a 50mm prime. So with the BlackMagic camera, you can finally use those 35mm SLR prime lenses with anamorphic lenses (and you can use 35mm prime lenses with our CineMorph filter as well with this camera).
So instead of ending up with an 85mm field of view on the BlackMagic camera, if you mount a 2x Isco Anamorphic lens to your 35mm prime (available at www.Vid-Atlantic.com) using our anamorphic lens Vamp Clamp, you will have a 42mm field of view along with 85mm shallow depth of field.
Problem solved ;) We’ll see I guess.
This will work with any other cameras in the future that are released with smaller sensor sizes…lets hope they also took Andrew Reid’s advice about the 4:3 sensor mode.
And now that one special, prestigious piece of gear has finally arrived to round off the years of camera development and take you to the vertiginous peaks of unbelievable footage quality and extreme equipment versatility: the recently released Blackmagic URSA 4K Digital Cinema Camera is the ultimate camera for professional film crews and keen solo cameramen looking to revolutionize their filming sessions.
Right after we wrapped Tyler’s half of the interview, he stood up and said: “Dude, thanks for knowing who we are.”
The unholy truth was that I didn’t. Not formally.
“Oh man, of course.” I replied, not really understanding why he said that.
On our way to the festival grounds that morning, I splayed out in the backseat of our PA’s sedan, pouring over online articles and a couple of their music videos. As I added high doses of caffeine to the mix of ************ and *********** still buzzing in me from the night prior, I came across two key pieces of information about Tyler and Josh AKA Twenty One Pilots:
They were raised Christian.
You’d be hard-pressed to find any mid-western born who wasn’t raised under the Mighty Crier, but the point here is: they spoke of it openly, and in the same kinda way you’d say you enjoyed eating pizza and watching cartoons as a kid. Far from being a singularly-defining trait in these types of individuals. It’s just something that is.
The band name was a reference to All My Sons by Arthur Miller.
You don’t go referencing a story like that, coming from a background like that, without being the kind of people who are extremely conscious of, not just who they are but more importantly, their actions.
I don’t know how real interviews are done. I guess they write down questions? This was all I needed to start a conversation.
Plenty different as adults, but we were the same kind of kids in a lot of ways. And when you meet those kind of people, you know it right away. There’s a clear understanding between you, like you’ve read the same book and know the same pages. Burned the same quotes to memory. Conversations like that feel inevitable.
Maybe that’s what Tyler meant? Shit, I dunno.
He might’ve just been glad we hadn’t talked about baseball.
ADDITIONAL CREDITS: Produced by: Nick Guss Boom Operator / PA: Michael Fabiani Audio Mixing: Eric Milliken