American Cinematographer - April 2016 - 91

Opposite:
Camera assistant
Marion
Delahousse holds
the slate while
vertical
references
demarcate the
horizontal field
of view for an
optics test. This
page, clockwise
from top left:
Cinematographer
Pierre-Hugues
Galien, AFC;
Kevin Felix-Lassa
and Marion; the
painting
"Autumn," by
Siew Ying
Chong.

Photos and illustrations courtesy of Benjamin B.

within that full frame to emulate two
smaller sensors. We also used a single
zoom to get different focal lengths.
Thus you should be able to replicate
these tests with any full-frame camera
and zoom.
2. The Team
I shot the tests with the help of
Pierre-Hugues Galien, AFC, a cinematographer who has shot several noteworthy features, including Now or Never
by Serge Frydman, Too Close to the Sun
by Yves Angelo and Dad in Training by
Cyril Gelblat.
Two crewmembers kindly agreed
to act as models: Marion Delahousse, a
camera assistant, and Kevin Felix-Lassa,
a student at the International Institute
of Image and Sound near Paris. In the
tests, Marion was in the foreground, and
Kevin was 6' behind her. Farther behind
on the wall, we placed another "face," a
giant painting by my friend Siew Ying
Chong.
3. Three Sensor Sizes
Pierre-Hugues recommended
using a Leica SL. The camera's fullframe sensor measures 36mm horizontal - about halfway between the 6K
Red Dragon (30.7mm) and Red's
upcoming 8K Weapon (40.96mm).

One day I hope to shoot tests with the
Alexa 65 (54.1mm horizontal), which
would require shooting with largeformat lenses. It's worth noting that the
jump from Super 16mm to Super 35 in
our tests is analogous to the jump from
Super 35 to 65mm.
In our tests, one camera is used to
emulate three sensor sizes with a 1.78:1
ratio:
A. Full frame 1.78:1 - 36mm x 20mm
The largest size uses the maximum width of the Leica SL's full-frame
sensor, which measures 36mm x 24mm
- the standard "full-frame" for still
photographs and cameras like the
www.theasc.com

Canon EOS 5D. (On a historical note,
36mm is also the width of the
VistaVision frame used by Paramount
filmmakers in the 1950s, and notably by
Alfred Hitchcock for Vertigo and North
by Northwest).
B. 3-Perf Super 35mm - 25mm x
14mm
At present, Super 35 is the
standard sensor size for spherical
features. We used the dimensions of
AbelCine's helpful "35mm Digital
Sensor Comparison Chart" (blog.abel
cine.com/2010/08/30/35mm-digitalsensor-comparison-chart-2).

➣

April 2016

91



http://blog.abelcine.com/2010/08/30/35mm-digital-sensor-comparison-chart-2 http://blog.abelcine.com/2010/08/30/35mm-digital-sensor-comparison-chart-2 http://blog.abelcine.com/2010/08/30/35mm-digital-sensor-comparison-chart-2 http://www.theasc.com

Table of Contents for the Digital Edition of American Cinematographer - April 2016

Contents
American Cinematographer - April 2016 - Cover1
American Cinematographer - April 2016 - Cover2
American Cinematographer - April 2016 - 1
American Cinematographer - April 2016 - 2
American Cinematographer - April 2016 - Contents
American Cinematographer - April 2016 - 4
American Cinematographer - April 2016 - 5
American Cinematographer - April 2016 - 6
American Cinematographer - April 2016 - 7
American Cinematographer - April 2016 - 8
American Cinematographer - April 2016 - 9
American Cinematographer - April 2016 - 10
American Cinematographer - April 2016 - 11
American Cinematographer - April 2016 - 12
American Cinematographer - April 2016 - 13
American Cinematographer - April 2016 - 14
American Cinematographer - April 2016 - 15
American Cinematographer - April 2016 - 16
American Cinematographer - April 2016 - 17
American Cinematographer - April 2016 - 18
American Cinematographer - April 2016 - 19
American Cinematographer - April 2016 - 20
American Cinematographer - April 2016 - 21
American Cinematographer - April 2016 - 22
American Cinematographer - April 2016 - 23
American Cinematographer - April 2016 - 24
American Cinematographer - April 2016 - 25
American Cinematographer - April 2016 - 26
American Cinematographer - April 2016 - 27
American Cinematographer - April 2016 - 28
American Cinematographer - April 2016 - 29
American Cinematographer - April 2016 - 30
American Cinematographer - April 2016 - 31
American Cinematographer - April 2016 - 32
American Cinematographer - April 2016 - 33
American Cinematographer - April 2016 - 34
American Cinematographer - April 2016 - 35
American Cinematographer - April 2016 - 36
American Cinematographer - April 2016 - 37
American Cinematographer - April 2016 - 38
American Cinematographer - April 2016 - 39
American Cinematographer - April 2016 - 40
American Cinematographer - April 2016 - 41
American Cinematographer - April 2016 - 42
American Cinematographer - April 2016 - 43
American Cinematographer - April 2016 - 44
American Cinematographer - April 2016 - 45
American Cinematographer - April 2016 - 46
American Cinematographer - April 2016 - 47
American Cinematographer - April 2016 - 48
American Cinematographer - April 2016 - 49
American Cinematographer - April 2016 - 50
American Cinematographer - April 2016 - 51
American Cinematographer - April 2016 - 52
American Cinematographer - April 2016 - 53
American Cinematographer - April 2016 - 54
American Cinematographer - April 2016 - 55
American Cinematographer - April 2016 - 56
American Cinematographer - April 2016 - 57
American Cinematographer - April 2016 - 58
American Cinematographer - April 2016 - 59
American Cinematographer - April 2016 - 60
American Cinematographer - April 2016 - 61
American Cinematographer - April 2016 - 62
American Cinematographer - April 2016 - 63
American Cinematographer - April 2016 - 64
American Cinematographer - April 2016 - 64a
American Cinematographer - April 2016 - 64b
American Cinematographer - April 2016 - 65
American Cinematographer - April 2016 - 66
American Cinematographer - April 2016 - 67
American Cinematographer - April 2016 - 68
American Cinematographer - April 2016 - 69
American Cinematographer - April 2016 - 70
American Cinematographer - April 2016 - 71
American Cinematographer - April 2016 - 72
American Cinematographer - April 2016 - 73
American Cinematographer - April 2016 - 74
American Cinematographer - April 2016 - 75
American Cinematographer - April 2016 - 76
American Cinematographer - April 2016 - 77
American Cinematographer - April 2016 - 78
American Cinematographer - April 2016 - 79
American Cinematographer - April 2016 - 80
American Cinematographer - April 2016 - 81
American Cinematographer - April 2016 - 82
American Cinematographer - April 2016 - 83
American Cinematographer - April 2016 - 84
American Cinematographer - April 2016 - 85
American Cinematographer - April 2016 - 86
American Cinematographer - April 2016 - 87
American Cinematographer - April 2016 - 88
American Cinematographer - April 2016 - 89
American Cinematographer - April 2016 - 90
American Cinematographer - April 2016 - 91
American Cinematographer - April 2016 - 92
American Cinematographer - April 2016 - 93
American Cinematographer - April 2016 - 94
American Cinematographer - April 2016 - 95
American Cinematographer - April 2016 - 96
American Cinematographer - April 2016 - 97
American Cinematographer - April 2016 - 98
American Cinematographer - April 2016 - 99
American Cinematographer - April 2016 - 100
American Cinematographer - April 2016 - 101
American Cinematographer - April 2016 - 102
American Cinematographer - April 2016 - 103
American Cinematographer - April 2016 - 104
American Cinematographer - April 2016 - 105
American Cinematographer - April 2016 - 106
American Cinematographer - April 2016 - 107
American Cinematographer - April 2016 - 108
American Cinematographer - April 2016 - 109
American Cinematographer - April 2016 - 110
American Cinematographer - April 2016 - 111
American Cinematographer - April 2016 - 112
American Cinematographer - April 2016 - 113
American Cinematographer - April 2016 - 114
American Cinematographer - April 2016 - 115
American Cinematographer - April 2016 - 116
American Cinematographer - April 2016 - 117
American Cinematographer - April 2016 - 118
American Cinematographer - April 2016 - 119
American Cinematographer - April 2016 - 120
American Cinematographer - April 2016 - Cover3
American Cinematographer - April 2016 - Cover4
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