T.Stops Blog


An A7R2 Love story… How the A7R2 can be Surprisingly Affordable and an Slog2 Workflow for Stills

Welcome back!

Last fall, my trusty Canon 5D mkI ( yes the Mk 1) finally called it quits after a decade of use.   I was on a job in the salt flats of Bonneville, Utah shooting a land speed record for the Triumph Race team.   I figured I’d get some beautiful photos while I was out there.  Sadly, the 5D sputtered, locked up, and I got every error message the camera could come up with.  I loved this camera.  It had a certain “Mojo” that is difficult to replicate:


What to do?  I had a couple Canon lenses, so naturally I was excited for the MKIV, and the 5DSr.  As a perpetual user of RED, Alexa and Phantom, I wasn’t necessarily looking for a SLR/mirrorless camera had video as a main attraction.   I decided to go after pure still photo power.   After testing both Canon cameras I felt the technology of the MKIV was impressive, but sitting at 31MP it didn’t seem to be catching up with the D810’s 43MP.   I loved the resolution of the 5DSr, albeit its performance in image quality didint seem like a quantum leap forward.  Having only in my eyes, acceptable dynamic range, moderate noise performance, I felt a bit perplexed.  I wanted the technologically advanced 5DmkIV, to have the resolution of the 5DSr.

My friend mentioned to me, “Have you considered the A99II?”.  I scoffed at first.  I wanted a tried and true optical finder, and at the time I was convinced that the only functional autofocus system that’s useable came from a true optical mirror setup with phase detection.  However a challenge had been posed, and I looked into it.  After all, we all have to do our due diligence.  The A99ii started looking more and more interesting, 399 AF points with a trans mirror… Hey this thing may actually be able to do it!   But then the realization that none of my canon lenses would work on the system, so it basically put the system out of the running.   After all it would mean reinvesting in top end Sony G glass as well as a new $3400 body.  However my interest was piqued by Sony.  What else did they have?  I checked DXO to see what cameras were at or near the top of their sensor score list, and there it was. The A7R2 with a 98 overall score, 13.9 stops of D/R, and an E mount that let me at least temporarily continue to use my canon glass.  Hmmm…  I shoot mainly portraits and landscapes so even with a Metabones adapter, I would have the ability to get useable AF for a still subject, keep my lenses, get 42+ Megapixels, 13.9 stops of D/R, no OLPF, and use the uncompressed RAW.    The perks on top of that were that it shot 4K video, maintained the D/R with SLog2 and because of the E-Mount, I could put any lens on earth on this camera.   As you all know I LOVE vintage lenses.

Upon looking into the system further, I was still bugged by the lack of an optical finder.  That is till I realized other than the 5DmkI, I haven’t looked through an optical finder since I shot with an Alexa Studio four years ago, then an ARRICAM LT 8 years ago.   I was hanging onto something that honestly wasn’t really an issue anymore.

Ok, so it seemed I was leaning a bit towards an A7R2…   But what else does the Emount do?  After many late nights reading up on the E-mount system, I learned that Sony makes an A-mount to E-mount adapter, The LA-EA4.  What is special about this? Well, Sony bought Minolta some years ago, and took their lens technology with them.  Minolta, though not hugely popular back in the day, had one of the earliest autofocus systems available. I’m talking nearly 35 years old, however, they all still worked on the A mount.  Especially with the LA-EA4 adapter as it has the screw drive mechanism to activate the older autofocus system built in!  This let me put a whole catalog of vintage Minolta Maxxum ( their equivalent of “L series”), Vivitar Series 1 and Tokina lenses on a modern camera with native autofocus functionality.  I searched online, and new old stock Maxxum lenses are often less than $100.  Some as low as $50.   So I picked up a used A7R2, a used LAEa4 adapter, and a Vivtar 19-35 F3.5, Tokina 28-70 F2.8, Minolta Maxxum 50mm F1.4, Tokina 90mm F2.5 Macro ( that is similar to my Vivitar Series 1 90mm; but with autofocus!) and a Minolta Maxxum 70-210 F4 “Beercan” all in immaculate shape.  Total cost? $2997.  That’s the A7R2 Body, LA-EA4 Adapter, and ALL of the lenses for $200 less than the cost of a New A7R2 body.   The lenses are for the most part great and have vintage feel with nearly modern AF performance.  The only hitch, though interesting, ( is it even a bad thing?) is the La-EA4 adapter has its own built in trans-mirror 9 point diamond pattern phase detection AF system. It bypasses the 399 AF points in the R2.   This did not bother me as I only use the center point anyhow.  Think about that for a minute.  For the photographer stepping up from an entry level camera, for less than the price of a flagship body you get everything.  I’d dare to say that it almost makes the A7R2 an entry level camera, with incredible room to grow over time.  Imagine being fully outfitted optically from 19mm to 210mm,  good AF, with the elusive vintage lens look, for less than $3000, taxed and shipped.  Oh and another thing…  The LA-EA4 and lenses will work on ANY E-Mount camera.  A5000, A7, A6500 etc. Really makes stepping up easier no?

To round out the system I got a Tilta Cage, Metabones PL adapter, and figured out a trade of some old gear for a Odyysey 7Q+ to record 4K.   I mean when the 4K looks so good why not use it right? ( I will go over the video capabilities in another post)

Now, back to the photos. I went wild shooting and enjoyed every last second.  These are from a few things, My wife riding a horse, some astro work and some shooting from a helicopter on Election night.


I was having a ball.   I found however that there was one small issue with the Sony system.   It is what has plagued every sony camera since the Vx1000 DV camera.  Skin color.   At least in camera skin tone rendition.   There is just something about the way the Sony cameras render skintone. It isn’t “Wrong”… It’s actually too accurate.   Cameras like the Canons (video and photo) seem to enhance the skin tone ranges, Nikons, The ARRI Alexa DEFINITELY enhances the skin tones, and the RED system has made vast improvements in this department.   Sony looks like it uses the same color science since 1994 … Ok maybe thats a bit harsh, but you get the idea.   The color quality is recoverable in post, but it requires work to dial it in.

Stock A7R2 in camera skin tones: See how the skin just kind of seems like a flat wash of color? I liken it to taking a tack sharp black and white photo, then colorizing it.

I discovered something curious in stills mode however, the Picture Profiles, the camera’s gamma and Color matrix settings, included Slog2.  This is primarily intended for when you shoot video, you can preserve all the dynamic range of the camera.   However, you can take stills with Slog2 Gamma engaged.   Hmmmm…  I was curious.  Slog2 is Slog2. It’s a reliable standard.   I bet, the LUTS we use for films that are Slog2 based luts would grade the stills.  I looked on line for some Slog2 luts that had promise, but many were over powering and just made the image look unnatural.  I then found a company called Omeneo Primer, they had the kind of stuff I was looking for.  I bought their pack called Omeneo Primer for A7R2.   Their LUT pack is specifically designed to “deSony” the image in terms of color quality.   It adds some contrast to the LOG image to make it look nicer, but it renders the image with a much softer toe and shoulder, preserving detail.  They state on their website that the primers are intended to give you a good starting place from which to grade further.   I found it really just brings the Slog2 Image to life in an amazing way.

I just did a very simple test, I shot in XtraFine Jpeg mode to preserve as much information as possible.  Slog2 Gamma won’t apply to RAW images.  You have to shoot Jpeg in some fashion.

I took my wife and her friend outside, shot the frame according to normal exposure according to the internal light meter with “still” gamma and “still” color matrix.    Really, the other matrices are essentially the same color feel, with either a lot of saturation, or not so much. None of them seem to exude warmth or a particular style. 709Matrix is far too saturated, and what it does wind up saturating just doesn’t look great.  The “Still” color matrix is saturated, but not absurd.

The two photos were shot, within a couple seconds of each other.  One in stock “still” gamma at normal exposure according to the meter, and the second shot is just switched to SLOG2, same exact exposure, ISO, shutter speed everything.  Then, the third image is the Slog2 gamma shot with the Omeneo LUT applied in photoshop.  No other adjustments other than applying the LUT.

1: Still Gamma:

2: SLog2 / S-Gamut Color

3: SLog2 S-Gamut color : Omeneo LUT.  Notice the skin. IT just has a rosy, warm feel, without warming the whole image. In fact the whole image globally has more vibrant, realistic color.  They mapped the sony sensors specifically to draw out the colors in a more pleasing way.



Another Example, My mom on mother’s day last week:

Slog2 / S-Gamut:

SLog2 / S-Gamut: With Omeneo LUT: No other adjustments.


You can see, the difference in skin tone rendering in the first example.  It’s far richer, overall has warmth, depth and just enough saturation to look pleasing, but not unnatural.   The steely grey undertone of Sony images are pretty much eliminated.  Colors that under normal circumstances you would never see suddenly come to life.   However, that’s not all…


I posted my findings online, and started a thread about the technique.  In a discussion I had with Geoffrey C Bassett: I brought up this technique and he wanted to try it out.   He noticed something quite remarkable.  It seems that when the camera is in SLOG2 mode, some interesting image processing happens.  It seems that shooting stills in SLog2 seems to eliminate a majority of chromatic aberration.   Under the same test images, he also noted that SLog2 images were a bit grainier.   What I think happens, is that the camera does zero processing in noise reduction, and doubles up Chromatic Aberration Compensation, or just does an extremely good debayer.   Whatever the case is, I would gladly take a slightly grainer image in exchange for beautiful color and less C/A.

Geoff C Basset’s Test: ( feel free to click his name to check out his work)

Standard Jpeg:

RAW Processed in Capture one:





100% crops:

1:  The out of Camera “Still Gamma” Jpeg: Notice the high light handling, the purple fringing on the silver gears and the bolts in the pedal gear.


2: RAW Processed with Capture one:  Notice although the highlights are better handled, but the purple fringing is still there!


SLOG2: unprocessed


3: SLOG2 – OMENEO LUT: Look how clean the edges of the white highlights are on the spokes.   The image seems sharper because somehow the ghosting that comes from the purple fringing is removed.  I think perhaps the debayer algorithm in SLOG2 mode is better.  It seems to process the image for more accuracy, albeit a bit noisier.  Also the highlight handling as a result is far better then even his RAW example.  I’m not too worried about the grain however.  This is a 100% crop from a 8K image.  That noise gets eliminated when scaled down, or even when it’s printed.  Obviously, some noise reduction would also solve it, if you don’t like any noise in your image. Personally I like the grain.


TEST 2: Direct sunlight.

1 Standard Jpeg: Notice how the chipped paint section on the boat looks almost purple from all the C/A.  Also the paint on the boat reads white, and the water reads nearly grey.


SLOG – OMENEO LUT: Here the boat looks blue, and the water takes on the sky’s reflection that was just not there in the JPEG version.

100% Crops:

JPEG standard – The Chromatic aberration is clearly visible on the hull of the boat and edges of the deck chair.  Also note the White tag on the orange life vest.


SLOG2 – OMENEO LUT :  For the most part, the color of the boat without all the purple fringing can actually show through, from a combination of a better utilization of Dynamic range in the highlights, and a lack of C/A.  In the Jpeg image the boat appears white.  In the Slog2 with LUT version, the boat reads as a light blue.  Also notice the lack of blotchiness  in the orange life vest.  The color subtleties are FAR better.

SLOG2 – Ungraded


While this doesn’t replace a RAW workflow, it’s a great alternative.  I think a properly exposed image using this method that benefits you with all the clarity of color, for me, is now my prefered way of taking pictures.  Alternatively, you can start using the A7R2 camera as a director’s viewfinder on set, it can be set to S35 mode, and you will get the field of view that closely matches nearly all cinema cameras, even the RED (at 5K ANSI s35 frame size).  Then after shooting a Jpeg in SLOG2, you can apply the LUT you want to use for the project directly to the Jpeg and get a sense of how things may look.  I think the trick is to expose perfectly, treat it like any LOG cinema camera.  Often LUTs come in different varieties based on different sensors, so they should track pretty well between the A7R2 and whatever you happen to be using.

I would likely shoot Jpeg + RAW to use this technique, but have the RAW as a backup incase it needs major adjustments. I would really like to figure out a way of making photoshop or lightroom export an Slog2 + S-gamut TIFF from the RAW files, so you can make the exposure adjustments necessary then use the luts to bring out the colors hiding in there, but from an uncompressed, 12bit space.  I think if you are careful, you can get away with shooting SLOG2 to Xfine Jpeg, and forgo RAW altogether so long as you expose properly.  You can adjust exposure a bit in photoshop before you apply the lut for small correction. It still looks pretty good up to a stop of push or pull.

I think this is a cool way of working, I hope you find it useful.

Thanks for reading!


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Cinematographer tools: Building a Director’s Finder.

Welcome back to Tstops.

A few weeks ago, half way through Nigel Stanford’s Follow up to the Cymatics Music video, I had a problem.   The shoot involved nearly continuous motion control setups on a Gazelle MoCo rig.   We were shooting nearly blind because of it.  Let me give a bit more background on the problem.  The Gazelle, pictured below, is a large motor controlled robotic dolly with a motor boom arm and three axis motor head attached.   It is capable of amazing things, but framing a shot is not the easiest thing in the world.  The Gazelle is tethered to an archaic floppy disk driven PC running DOS, and it’s position and movements are essentially a series of  coordinates fed into the machine.  Our Operator, as patient as a saint, would have to manually move the camera attached to the Gazelle around with what looks like an industrial control remote.  Think, WWII radio phone with several buttons and a thick cable tethering to the Gazelle.  In order to find a frame we had to painstakingly move the dolly, then the boom, then the head, decide on the lens, then find the exact frame.  It was slow, agonizing and considering our tight schedule, meant precious time was being wasted.

The Gazelle being moved into position.
The Rigged Phantom 4K Flex.

We needed to find the frame faster.  The best solution is the director’s finder.   I can quickly take a lens, throw it on, and frame up the shot exactly where I want it.  The best part is that you can do it with the lens in question; then see the DOF, geometry and necessary camera height immediately.   All without moving a camera or distracting the operator and AC’s from prepping the rig for the next shot.  Often times a director’s finder are rare on set, especally with the shrinking budgets these days, it’s a tough fight to get one for a week, if the rental house even carries one at all… When it does, it’s often huge, heavy and PL only.  Often film equipment is built to survive a war, and it shows when you see how immensely they are built.   To complicate the matter further, not every shoot is on PL lenses these days.  ( This one was, but just for arguments sake)  HV2-Dir-Finder_1DenzViseurdeChamps02-H021-PLV1
It is a piece of kit that I deem mandatory from now on.  They save incredible amounts of time, energy and in turn, save money for the production and helps keep intact the backs of your crew.  I looked into purchasing one, but not shockingly the prices of even used PL finders are astronomical, anywhere between $3,000 and $7,000 dollars.   There had to be some solution that had all the abilities of bigger finder without the size or costs involved.   So… I set out to build my own.  With the plethora of S35 (APSC) cameras out there these days a solution had to be at hand.  I priortized affordability because lets face it, no one will rent a home made viewfinder no matter how necessary, or liked it is when it actually on set.   So it needs to be as good as possible, but also as affordable as possible.   It had to be flexible in what lenses were useable.  Meaning interchangeable mounts.  This eliminated Canon DSLRs immediately, no PL ability.    I really wanted a tiny tiny device.   Something I would actually carry to work with me.    I did a bit of research and this is what I came up with.

My Directors Finder with an ARRI Ultra Prime attached. Small, Check. Light, Check. Flexible, Check. Cheap(ish), Check.

Homemade, but damn good.  There is a surprising benefit to using an all digital director’s finder, I can set the shutter speed and ISO to match my main camera so not only can I see the shot, but I can get a rough idea on how the light will look, plus snapping stills or a quick video clip means I can reference the shot later when fine tuning the position of the A camera.   I will list the parts below if you should choose to make one yourself.  Its a Sony a5000 Emount advanced point and shoot photo camera, a PL to Emount adapter by Metabones and a simple pistol grip.  I also got a smart EF to Emount adapter should I need to go with Rokinons, Canon CNE’s or Zeiss CP2 lenses in EF mount.   The a5000 was the best choice for me, as I was able to find a good condition used one on Ebay.

The parts:

The Camera: Sony a5000 (I got a used one ~$160)

I went with the older model, as they are easier to find used on Ebay, there is a newer A6000 available.  This camera is APS-C sensor, and damn close to S35 frame size.  It matches most high end and middle level Cine cameras with relative accuracy.  It offers 16:9 frame and is manually controllable for Iris, ISO and shutter speed.  It also has an articulating screen so you can frame low to the ground, and tilt the screen up flat.   I recommend a few spare batteries.  In live view, it goes through them relatively quickly.  Two batteries last about a day of framing between takes.  The camera also takes SD cards of which I had 20 lying around. I’m sure you do too.

The mounts:

PL: Metabones PL to E Mount  ~$370 – Since there would be potentially $30,000 lenses hanging of this thing, I wanted to opt for the best PL adapter I could get. No use if the lens falls off…..

EF: Commlite Autofocus/IS EF to E mount Smart Adapter ~$79.00 – While the Commlite is not a mainstream brand the quality is quite good, it locks in tight and has fully functional, IS, AF and Iris all work perfectly with EF lenses.

The pistol Grip:  Barska ACCU-Grip, ~$15.00 – Surprisingly inexpensive, but not too bad.   That said, i’d always two hand the system when a costly lens is mounted.  Very light.  That said, I just found this: $15 also, but made of aluminum Opteka Aluminum Hand grip

All in, it ran about $700 with shipping/Tax.  Not exactly cheap, but it does have a few perks to help justify it.  I now own a PL to Emount adapter ( helllllllo A7s!!!!!), I now own a good EF to Emount adapter ( helllllo A7RII!!!!) and I also now have a small, feather light point and shoot sized camera that can take great glass, and has nearly DSLR quality.  I took the following photo with it at a family function couple weeks ago… its image quality is rather stunning for such a small camera.

Kodachrome Lut in DXO Filmpack
Kodachrome 64 LUT in DXO filmpack


All in all, its not an interchangeable ground glass $7,000 ARRI viewfinder that shows EXACTLY the frame your gate is set to…  It’s just meant to get you close, and fast.   With the speed we shoot nowadays its critical.  It saved me on the MoCo shoot, as I could just set a frame, show the operator the exact shot, and get to where we need to be in one quarter the time.   This goes for any shoot you will ever do on Steadicam, MOVI, Dolley, even a heavy camera on sticks.  Remember, just for finding a frame,  using a Canon Zoom that covers your primes focal ranges counts.  A mm is a mm is a mm.  For the projects where the budget allows, yes a ground glass viewfinder with true frame guides is best, but to have the same ability to move fast can be very useful for any production big or small.


Thank you for reading!

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The Kung Fu of operating camera.

Welcome back to Tstops.

Its been a while, but for good reasons.   I recently spent a considerable amount of time in Singapore DPing a TV series for the national broadcast station MediaCorp.  At the time we started this project, an unfamiliar camera to me, the ARRI Amira was the tool of choice for the production, they wanted an all handheld look, and the Amira is the best there is for that function.  I will go much further into detail on this project in another Work Log post, but carrying a 30lb piece of Aluminium, glass and magnesium on your shoulder for a month you come to realize a few things.  First, I LOVE operating a camera handheld.  The shot clock as I came to call it, the timecode in the view finder would tick by and minutes would pass by in what felt like seconds.  Entire one take action scenes, with the camera going from ground level, to my shoulder level while sprinting after actors and stunt people fighting, jumping over grip equipment and ducking under steel beams all with my eye glued to the viewfinder would just somehow… happen.  I would hear cut, and sort of “wake up”, sometimes 100 feet from where I started with what looked like an obstacle course between end point and start.   I am not the most athletic guy on earth, but with my eye in a viewfinder, somehow my mind goes blank, my focus goes into overdrive and a sort of dance ensues and my body just made it happen.  When operating handheld, your position in relation to the actors is ever changing and you become in a part of the performance, and in a way a part of the shot more than if the camera were on dolly, jib or tripod.   The camera is no longer just a window into a world, but an actual observer in the scene.  It may seem obvious, that yes, the camera is the audiences view of the story, but as a camera operator, its your personal point of view.   You are a spectator onset, with your own marks, timing, energy and physicality.   My wife, a professional dancer, often said when dancing she doesn’t think of what to do, it just happens.  Her body knows the choreography and she can simply channel the emotions through that.  This is exactly how I felt on this production.  I had never done so much handheld at once, or for so long.   2-8 minute takes, one after another for nearly a month.   Most of the shots contained a choreography between actor and camera.   You stop thinking and start feeling the shot and pace.  Jedi training stuff.

As an experiment, if you have a camera with a viewfinder, I recommend spending a significant amount of time only looking through the view finder for a day.  Once you become so comfortable with the practice of seeing the world through a small window, it becomes your second nature, then something interesting happens.   You stop thinking about the framing.  Your inner aesthetic takes over, and the frames start to find them selves.   This is where the Kung Fu comes in, not in the popular definition of a fighting style, ( a more recent definition)  but the other meaning, that is repetition and patience lead to good results.  Well, I suppose I could just say practice makes perfect… but this is a bit different.   This is letting go, and feeling the scene though the lens and letting your eye, and body make it happen without too much conscious effort.   It boils down the shot to its essence.   From there, you can make your conscious decisions to make it better.

Right now, my main goal is to apply what I learned to all aspects of my work.  Taking the elements of a shot down to their barest forms of story telling.   The lessons I learned from this experience, I think can apply to all aspects of the shot.  Light, frame, color, movement and time.  Light being the most fleeting and difficult to make a broad stroke of emotion.   Lets see where this goes.  Should be interesting.


Until next time.  Thank you for reading.



Camera work 101: Camera Height

Welcome back to Tstops.  In this instalment I want to bring about a new section theme: Camera Work 101.  I think sometimes we take it for granted that a person learning (myself included) just “knows” a very simple basic thing.   Sometimes I wish someone had just told me about certain aspects of cinematography when I was starting out.   Often a lot of talk is thrown around for Lighting, Composition, Lens choice, Exposure, and color… But one thing thats far more subtle, but contributes a lot to a shots look, is camera height.

Camera height does a couple things, it controls lens distortion and it controls foreground and background composition.

For example, on a long lens, where facial distortion is at a minimum, you can afford to use camera height to select where the horizon falls in the background. Now this may seem a trivial element, but it can have big implications if used thoughtfully.

Another example, On a wider lens, using pan and tilt to center the lens on the background, you accomplish your proper head room in the frame using the camera height.  When you do this, you don’t somehow feel the width of the lens, simply that something is “special”.   This is a Technique Roger Deakins uses on a regular basis. He tends to shoot with slightly wide angle lenses for some medium closeup shots, but his use of composition, and camera height, corrects for the distortion and the lens.

A good example of the use of camera height and its effect on framing (inspired by a blocking study done by filmmaker John Hudson)  is the hunting scene from No Country for Old Men, where the main character Llewelyn Moss stumbles upon $2,000,000 of apparent drug money in a briefcase. The first shot, where he is unaware of the impeding danger, Deakins uses the large sky, a relatively wide lens, and creates a feeling of expansiveness and solitude, ie safety.


A wider angle lens, centered does not distort so much. Giving you a great perspective on the background, while looking natural.


As the scene progresses, the camera work shifts a bit, as the lenses start to get longer, the horizon begins to shift higher into the frame, showing more and more of the terrain. Grounding the character in reality, and making the desert seem smaller, or rather… more mysterious.



Once Llewelyn realized the amount of danger he is in, the horizon is nearly invisible, giving the sense that he can’t “see” the bad guys coming any longer.  Remember, on screen, the audience only sees what you show them. If you obscure the background, it adds a sense of mystery, because the audience is denied the special ability in film to see the bad guys before the character does.

The tree itself in the frame above actually obscures most of the frame adding to the mystery effect. This indicates the camera is at least as high as the lower hanging tree branches, well above Llewelyn’s eyeline.




In general, for classic hollywood coverage, the camera height, by center of lens for a portrait shot should be somewhere around the actors lip level.  For women, its not a bad idea to be level with the eyes or even slightly above.  In combination with with a longer lens, somewhere in the 50-100mm range (65 being my favorite), its very flattering to faces.

Screen Shot 2015-02-23 at 2.08.03 AM
Screen Shot 2015-02-23 at 2.06.31 AM His shot is Level with the Lips. Hers is level with the eyes.

Much like in the Roger Deakins example i just showed, the camera height can have quite an effect on the psychology of the shot.  However, when you start to reach  levels outside the normal range of heigh, be mindful of eyelines.  The only time you can somewhat forgo an eyeline is with very extreme cases of low angle, or high angle shots.

Most filmmakers know what the visual language the extreme high angle and low angle shot say, but I will briefly discuss them.  The high angle shot is often used to make a character seem small, powerless and weak.





The opposite is true, when you need to assert a sense of power to a character. I mean, quite frankly, if you have a hero…. You shoot him low angle, hence “Hero Shot”.


spiderman spiderman2_de5LOWNAGLE ReseviorDogsLOWangle LowangleFury LowAngleBAtman LOWANGLE ArnoldLowangle low_angleBANE LOWANGLE

I think the point has been made.  Its a simple technique that works.  Its part of the basic language of cinema that audiences are accustomed to, and they know what it means when they see it.

Now, at any point once the basics have been mastered, you have room to experiment and be creative with how you use the language to tell the story.  Not all high angle shots indicate weakness.  Sometimes its to help show elements of the environment. For example, this is from a film I worked on called “Pepper and Paul“.  The high angle shots are there to give a sense of the two characters contrasting lives, not necessarily that either is in a position of weakness.

Screen Shot 2015-02-23 at 2.14.54 AM

Screen Shot 2015-02-23 at 2.14.00 AM


Learning how and when to break the basic rules is the fun part of the job of a cinematographer.   Hopefully this brief overview gave you some new ideas. Thank you for reading!


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Coming up: Exposure and why we are all doing it so wrong… but so right……



Work Log: Cinemagraphs – The fine line between Photo and Film.

Welcome back to Tstops!

In this installment I’m going to talk about a very interesting shoot I did for TheVerge.com and Director Noah Shulman.   It was for the Samsung sponsored holiday gift guide.  We needed to create about a dozen “Cinemagraphs”.  That is to say, still images, in which a small moment is in motion.   It’s interesting to me because its the true hybrid of photography and Film.  In order for the effect to work, the subject, Aloe Blacc, had to remain motionless with exception of one small element of his person, or a moving element in the scene.  If he was to shift about, the effect would be ruined.

Here are the assembled Cinemagraphs in one video for easy viewing: but please click here to see them in context on the site.

It felt a bit like shooting oldtimey large format, where everyone in the room had to remain absolutely motionless and the effective “shutter” was 2-6 seconds.  We needed one actual still moment, then a few seconds to capture the motion. The two images were then composited, converted to GIF, and made into the Cinemagraph you see in final presentation.


Setup for an overhead shot.


We shot on RED Dragon at 6K full raster 5:1 Compression.  The lowest compression and the highest resolution we could go.  This was to ensure the post production pipeline had the most information to work with, as far as resolution for scaling, denoise, and compositing.

Lighting was nothing particularly out of the ordinary, we utilized the north facing windows of the studio for a constant and even daylight glow, and augmented when needed with an ARRI M18 1.8K HMI with a Chimera and 2″ Egg Crate to suppress spill.  We also had my new favorite light of all time, the Dedo 150.   Its been said, if given the option of two lights to shoot with, you pick a giant light… and a tiny light.  The Dedo is my new tiny light.   So unbelievable practical.  It provided most of the “edge” light you see in the setups.

This was a fun shoot for a new medium and I’m happy to be able to share the experience.

Until next time,



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