American Cinematographer - December 2019 - 54

No Escape

Actor Sienna Miller plays a fellow detective who joins Boseman's character in the manhunt.

length lenses to achieve an equivalent
angle of view relative to Super 35mm.
In turn, the use of longer focal lengths
from the same camera-to-subject
distance equated to less depth of field
in the image. For example, if a closeup in Super 35 were to be shot with a
50mm spherical lens, in order to maintain the same subject size, distance to
camera and horizontal angle of view
when switching to anamorphic, the

lens would need to be a 90mm - and
when switching to full frame, that
lens would now need to be a 120mm
anamorphic. The longer focal length
means less depth of field for a given
composition than in Super 35.
"Full frame is kind of the new
frontier," the cinematographer muses.
"It's not quite like 8-by-10 photos, but
it is a bit like shooting medium
format. Suddenly we're seeing a
much shallower depth of
field compared to a
Super
35 sensor. With
The "spherical feel" of Servicevision's Scorpio fullthe
Scorpios,
shooting
frame anamorphic lenses is the result of their integrated
wide
open
[at
T2.2]
is the
rear anamorphosizers. When the anamorphot cylinders
are placed behind the entrance pupil of the lens, rather effective depth of field of

than in front, many of the
attributes associated with
anamorphic photography
aren't present - namely
the horizontal flares and
elliptical bokeh. This
placement also eliminates
much of the astigmatism,
as well as the inconsistency in the plane of
focus, that is common
with many anamorphic
lenses. All of this makes
for a noticeably "cleaner"
anamorphic look.
54

December 2019

ASC 100th Anniversary

about a T0.5 in Super 35 [for the
equivalent field of view - i.e.,
shorter focal-length lens - at the
same distance].
"Full frame seems like a more
elegant frame in digital capture,"
Cameron continues. "We have been
used to a Super 35mm-sized sensor
for a while now, and we've been
struggling with various codecs on
different digital systems that required
us to use less than the full sensor for
higher frame rates. It was really the
[introduction] of [Arri's] Alexa 65 that
started to change things for me. The
larger sensors combined with both
anamorphic and spherical full-frame



American Cinematographer - December 2019

Table of Contents for the Digital Edition of American Cinematographer - December 2019

Contents
American Cinematographer - December 2019 - Intro
American Cinematographer - December 2019 - Cover1
American Cinematographer - December 2019 - Cover2
American Cinematographer - December 2019 - 1
American Cinematographer - December 2019 - Contents
American Cinematographer - December 2019 - 3
American Cinematographer - December 2019 - 4
American Cinematographer - December 2019 - 5
American Cinematographer - December 2019 - 6
American Cinematographer - December 2019 - 7
American Cinematographer - December 2019 - 8
American Cinematographer - December 2019 - 9
American Cinematographer - December 2019 - 10
American Cinematographer - December 2019 - 11
American Cinematographer - December 2019 - 12
American Cinematographer - December 2019 - 13
American Cinematographer - December 2019 - 14
American Cinematographer - December 2019 - 15
American Cinematographer - December 2019 - 16
American Cinematographer - December 2019 - 17
American Cinematographer - December 2019 - 18
American Cinematographer - December 2019 - 19
American Cinematographer - December 2019 - 20
American Cinematographer - December 2019 - 21
American Cinematographer - December 2019 - 22
American Cinematographer - December 2019 - 23
American Cinematographer - December 2019 - 24
American Cinematographer - December 2019 - 25
American Cinematographer - December 2019 - 26
American Cinematographer - December 2019 - 27
American Cinematographer - December 2019 - 28
American Cinematographer - December 2019 - 29
American Cinematographer - December 2019 - 30
American Cinematographer - December 2019 - 31
American Cinematographer - December 2019 - 32
American Cinematographer - December 2019 - 33
American Cinematographer - December 2019 - 34
American Cinematographer - December 2019 - 35
American Cinematographer - December 2019 - 36
American Cinematographer - December 2019 - 37
American Cinematographer - December 2019 - 38
American Cinematographer - December 2019 - 39
American Cinematographer - December 2019 - 40
American Cinematographer - December 2019 - 41
American Cinematographer - December 2019 - 42
American Cinematographer - December 2019 - 43
American Cinematographer - December 2019 - 44
American Cinematographer - December 2019 - 45
American Cinematographer - December 2019 - 46
American Cinematographer - December 2019 - 47
American Cinematographer - December 2019 - 48
American Cinematographer - December 2019 - 49
American Cinematographer - December 2019 - 50
American Cinematographer - December 2019 - 51
American Cinematographer - December 2019 - 52
American Cinematographer - December 2019 - 53
American Cinematographer - December 2019 - 54
American Cinematographer - December 2019 - 55
American Cinematographer - December 2019 - 56
American Cinematographer - December 2019 - 57
American Cinematographer - December 2019 - 58
American Cinematographer - December 2019 - 59
American Cinematographer - December 2019 - 60
American Cinematographer - December 2019 - 61
American Cinematographer - December 2019 - 62
American Cinematographer - December 2019 - 63
American Cinematographer - December 2019 - 64
American Cinematographer - December 2019 - 65
American Cinematographer - December 2019 - 66
American Cinematographer - December 2019 - 67
American Cinematographer - December 2019 - 68
American Cinematographer - December 2019 - 69
American Cinematographer - December 2019 - 70
American Cinematographer - December 2019 - 71
American Cinematographer - December 2019 - 72
American Cinematographer - December 2019 - 73
American Cinematographer - December 2019 - 74
American Cinematographer - December 2019 - 75
American Cinematographer - December 2019 - 76
American Cinematographer - December 2019 - 77
American Cinematographer - December 2019 - 78
American Cinematographer - December 2019 - 79
American Cinematographer - December 2019 - 80
American Cinematographer - December 2019 - 81
American Cinematographer - December 2019 - 82
American Cinematographer - December 2019 - 83
American Cinematographer - December 2019 - 84
American Cinematographer - December 2019 - 85
American Cinematographer - December 2019 - 86
American Cinematographer - December 2019 - 87
American Cinematographer - December 2019 - 88
American Cinematographer - December 2019 - 89
American Cinematographer - December 2019 - 90
American Cinematographer - December 2019 - 91
American Cinematographer - December 2019 - 92
American Cinematographer - December 2019 - 93
American Cinematographer - December 2019 - 94
American Cinematographer - December 2019 - 95
American Cinematographer - December 2019 - 96
American Cinematographer - December 2019 - 97
American Cinematographer - December 2019 - 98
American Cinematographer - December 2019 - 99
American Cinematographer - December 2019 - 100
American Cinematographer - December 2019 - 100a
American Cinematographer - December 2019 - 100b
American Cinematographer - December 2019 - 101
American Cinematographer - December 2019 - 102
American Cinematographer - December 2019 - 103
American Cinematographer - December 2019 - 104
American Cinematographer - December 2019 - 105
American Cinematographer - December 2019 - 106
American Cinematographer - December 2019 - 107
American Cinematographer - December 2019 - 108
American Cinematographer - December 2019 - 109
American Cinematographer - December 2019 - 110
American Cinematographer - December 2019 - 111
American Cinematographer - December 2019 - 112
American Cinematographer - December 2019 - 113
American Cinematographer - December 2019 - 114
American Cinematographer - December 2019 - 115
American Cinematographer - December 2019 - 116
American Cinematographer - December 2019 - 117
American Cinematographer - December 2019 - 118
American Cinematographer - December 2019 - 119
American Cinematographer - December 2019 - 120
American Cinematographer - December 2019 - Cover3
American Cinematographer - December 2019 - Cover4
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