American Cinematographer - August 2016 - 76
Top and middle: Cast and crew work onstage with the Lytro Cinema system. Bottom: Stump (left) adjusts
the frame as director Robert Stromberg (right) watches the monitor.
76
August 2016
American Cinematographer
flow that was any different to me than a
typical shoot; the Lytro on-set support team
made the amount of data flowing through
our project mostly invisible to me. Their
solution includes a drive array, and because
captured data moved through a 100-meter
cable, there was effectively no restriction as
far as the fiber tethering of the camera to
the drive, and the servers could be placed
anywhere for sound considerations. The
camera specs out at up to 300 fps, but for
this project we did most of the shots
between 24 and 120 fps, which still offered
us the ability to manipulate all of the
aspects of the image that make this camera
unique. At 755 megapixels, the files
coming off of the camera contain a dense
amount of data, but the end goal for Lytro
Cinema is that all of these files will be
stored and processed in the cloud.
There were many remarkable scenes
throughout the shoot, but there are a
handful that would have been impossible
to achieve with any other camera. One was
the wedding scene, where the couple is
standing at the altar in front of a preacher.
They're on a little walkway with an arch of
flowers behind them, and we shot this on a
bare stage, with grips walking behind the
actors while camera rolled, rather than
incorporating a blue- or greenscreen. Traditionally, that would have been very difficult
to shoot and pull mattes from, because
there is fine detail in the foliage and the
young woman's hair, and we had reflective
Mylar confetti flying through the air in front
of the couple. From the light-field data, we
were able to use depth extractions to create
mattes for the couple, and composited
them into the final matte-painting environment. To be able to pull a matte from depth
alone and selectively include or remove
objects in a scene based on their depth
value was truly empowering.
Another scene that confounds filmmakers is at the start of the short, when the
boy is playing baseball with an impossibly
shallow depth of field - in this case f.5.
This scene demonstrates how Lytro Cinema
enables you to select what you want in
focus in a scene, and then change the aperture of that focal plane to any desired fstop.
American Cinematographer - August 2016
Table of Contents for the Digital Edition of American Cinematographer - August 2016
Contents
American Cinematographer - August 2016 - Intro
American Cinematographer - August 2016 - Cover1
American Cinematographer - August 2016 - Cover2
American Cinematographer - August 2016 - 1
American Cinematographer - August 2016 - 2
American Cinematographer - August 2016 - Contents
American Cinematographer - August 2016 - 4
American Cinematographer - August 2016 - 5
American Cinematographer - August 2016 - 6
American Cinematographer - August 2016 - 7
American Cinematographer - August 2016 - 8
American Cinematographer - August 2016 - 9
American Cinematographer - August 2016 - 10
American Cinematographer - August 2016 - 11
American Cinematographer - August 2016 - 12
American Cinematographer - August 2016 - 13
American Cinematographer - August 2016 - 14
American Cinematographer - August 2016 - 15
American Cinematographer - August 2016 - 16
American Cinematographer - August 2016 - 17
American Cinematographer - August 2016 - 18
American Cinematographer - August 2016 - 19
American Cinematographer - August 2016 - 20
American Cinematographer - August 2016 - 21
American Cinematographer - August 2016 - 22
American Cinematographer - August 2016 - 23
American Cinematographer - August 2016 - 24
American Cinematographer - August 2016 - 25
American Cinematographer - August 2016 - 26
American Cinematographer - August 2016 - 27
American Cinematographer - August 2016 - 28
American Cinematographer - August 2016 - 29
American Cinematographer - August 2016 - 30
American Cinematographer - August 2016 - 31
American Cinematographer - August 2016 - 32
American Cinematographer - August 2016 - 33
American Cinematographer - August 2016 - 34
American Cinematographer - August 2016 - 35
American Cinematographer - August 2016 - 36
American Cinematographer - August 2016 - 37
American Cinematographer - August 2016 - 38
American Cinematographer - August 2016 - 39
American Cinematographer - August 2016 - 40
American Cinematographer - August 2016 - 41
American Cinematographer - August 2016 - 42
American Cinematographer - August 2016 - 43
American Cinematographer - August 2016 - 44
American Cinematographer - August 2016 - 45
American Cinematographer - August 2016 - 46
American Cinematographer - August 2016 - 47
American Cinematographer - August 2016 - 48
American Cinematographer - August 2016 - 49
American Cinematographer - August 2016 - 50
American Cinematographer - August 2016 - 51
American Cinematographer - August 2016 - 52
American Cinematographer - August 2016 - 53
American Cinematographer - August 2016 - 54
American Cinematographer - August 2016 - 55
American Cinematographer - August 2016 - 56
American Cinematographer - August 2016 - 57
American Cinematographer - August 2016 - 58
American Cinematographer - August 2016 - 59
American Cinematographer - August 2016 - 60
American Cinematographer - August 2016 - 61
American Cinematographer - August 2016 - 62
American Cinematographer - August 2016 - 63
American Cinematographer - August 2016 - 64
American Cinematographer - August 2016 - 65
American Cinematographer - August 2016 - 66
American Cinematographer - August 2016 - 67
American Cinematographer - August 2016 - 68
American Cinematographer - August 2016 - 69
American Cinematographer - August 2016 - 70
American Cinematographer - August 2016 - 71
American Cinematographer - August 2016 - 72
American Cinematographer - August 2016 - 73
American Cinematographer - August 2016 - 74
American Cinematographer - August 2016 - 75
American Cinematographer - August 2016 - 76
American Cinematographer - August 2016 - 77
American Cinematographer - August 2016 - 78
American Cinematographer - August 2016 - 79
American Cinematographer - August 2016 - 80
American Cinematographer - August 2016 - 81
American Cinematographer - August 2016 - 82
American Cinematographer - August 2016 - 83
American Cinematographer - August 2016 - 84
American Cinematographer - August 2016 - 85
American Cinematographer - August 2016 - 86
American Cinematographer - August 2016 - 87
American Cinematographer - August 2016 - 88
American Cinematographer - August 2016 - Cover3
American Cinematographer - August 2016 - Cover4
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