andmaybegayer:Woo hoo hoo look at THIS(This kind of thing was totally normal in 2009)@choppedcowboyd
andmaybegayer:Woo hoo hoo look at THIS(This kind of thing was totally normal in 2009)@choppedcowboydinosaur tagged as:#camera #telescopic lens #huge lensOh, no, you WISH it was this simple. This is no mere telephoto lens. This is a depth of field adapter with a 35mm film camera lens mounted on the front. This is what gets made when the lack of quality equipment drives a videographer insane.I mentioned in the bokeh post that there’s pretty much only one way to get nice shallow depth of field, which is large sensor plus large aperture. This is a high-end consumer camcorder from 2009, which means it has a sensor that’s about 5mm wide. Compare that to a 35mm camera, which is (you guessed it) 35mm wide, and you have a 1/7th size sensor, (or 1/50th sensor area, if you prefer that).(A 35mm camera is the full size of that image. What this camera has is the smallest yellow square. There’s a big difference)You just can’t get that lovely Cinematic Look with shallow depth of field on a camera like this, there’s no way, physics forbids it. Until the arrival of video-ready large sensor digital photo cameras, like the Canon 5D Mark II (or, more recently, stuff like the Black Magic Pocket), you couldn’t get Cinema Looking Video without dropping USD 30k professional cinema camera.Or well, there was one way, which is the thing above.What that is, is effectively duct-taping your video camera to the back of a high-quality SLR.The magic trick SLR’s pull is that they have two identical optical paths through the body. Both paths start outside and enter through the lens assembly (1). When you press the trigger, the mirror(2) moves out the way, the path ends at the sensor (4), and you can take a photo. The selling point of SLR’s is that when the mirror(2) is in the way, the path bounces up onto a small ground glass screen(5) and the image is projected into your eye via a prism(7) through the viewfinder.Ground glass is glass with a slightly roughened surface finish, and it effectively stops the optical path dead, captures the image at that point, and projects it on the far side, letting you see /exactly/ the same image that the sensor will capture, complete with depth of field and everything.A depth of field adapter straps on to the front of a camcorder and consists of a mount for an SLR lens, a ground glass screen, and some spacers so that the camcorder’s real lens can focus on the screen. The image it sees is whatever the much fancier 35mm lens you’re mounting on the front produces. Effectively, all the video camera does is capture a projection, not the scene itself. Think pointing a cellphone camera at a movie screen.So let’s label that photoThere. That lens on the front is probably a ~150mm film lens, or in normal terms something like an 8x zoom over what you’d think of as a Normal Shot, (speaking in times magnification really doesn’t make sense on an interchangeable lens system).The short little stock lens this camera comes with is a 20x zoom, but without any of the lovely depth of field. The macro lens mounted on the camera body is focussed and zoomed to capture whatever is on the ground glass screen, and so this can give you a kind of video quality that simply wasn’t available to anyone in 2008. -- source link
#photography#videography#optics