gizmodo.com: In the same way the Lytro camera allows photographers to tweak the focus of their shots in post-production, this multi-camera array, developed by researchers at the Fraunhofer institute, allows directors to adjust the depth of field, the aperture, and even the camera angle of a given shot after it's been captured. The phrase 'fix it in post' now has a whole new dimension.
5 comments:
Like how the lytro, 3D printer, etc. . . of recent years represent really great potential to be really important technological innovations, maybe the poly-lens camera will be one. Just like how with the addition of moving lights to theatrical and entertainment lighting changed the way people designed around the technology, maybe this and similar innovations will change the way directors, DPs and post editors approach film.
Lets fix it in post has a whole new meaning.
I found this article last week and it is a very interesting new development. After they first introduced Lytro and its capability of changing focus points in shots after recording them I was intrigued by the idea of how much time it could save for camera operators who have to try and adapt the focus in real time while recording. But this array to me sounds both innovative and the perfect opportunity for directors and DP's to become very lazy. I could go on a long rant about how lazy film companies have already become with the over use of CGI rather then actually put the time and effort into making something that doesn't have to be fixed by a computer. However I am not going to go on that rant.
It seems that less and less of movies are actually "made" during the time that actors are on set. Lines are re-recorded in post production, CGI takes a huge role in many movies now, making moving tennis balls into growling monsters, and now it looks like cinematographers will soon be out of a job. This array of cameras is innovative and exciting for the possibilities it opens up, but at the same time it will drastically change the dynamic of on-set acting. Cameras won't have to be so in-your-face for close-ups anymore; instead they can be positioned in the same place for an entire scene, with all the decision making for what should be in each frame completed later. Hopefully this will not take away from the integrity of the acting or the cinematography, as often decisions made spontaneously turn out to be much more innovative as ones made after much thought. We will just have to wait and see what happens.
While the potential for this camera array as a post production tool is great, I see it as more of a storytelling tool. I can imagine the day when the viewer of a film has the ability to change the angle, focus, and exposure of a shot, enhancing their viewing experience. While this does take a lot of control away from the cinematographer and director, the level of immersion it offers the audience is astounding. This also has some very interesting implications for the world of theatrical media design. It would allow a designer to tweak the angle of previously recorded footage so it integrates seamlessly into the other production elements.
I like what Dan has to say about how this tool could potentially enhance story-telling. I am eager to see what kind of creative things come out of this. I am worried that this could increase laziness and more importantly indecisiveness among directors. I know that this was intended to increase efficiency in production, but with any new product there is bound to be a learning curve. I wonder how soon something like this could be available to consumers, and at what cost.
Post a Comment