Understanding RED Camera Formats & Camera Angles

In the Sketchup™ Camera Tools seminar this past weekend I talked about the current trend in digital cameras and how they relate in using camera lens angles to view 3D models and illustrations.

The RED Epic™

A camera that is creating a great deal of excitement in the camera world, and a lot of confusion in Art Departments, is the RED camera. Just over three years ago the Red Digital Cinema Camera Company  entered the market with what they called a DSMC system, or Digital Still and Motion camera system. The camera was basically a component system with the body, or brain, containing the sensor and the other various components needed to record an image. The system was designed to be configured and upgraded as the user saw best to fit their work needs. The design of a camera with dual capabilities would fuel the current trend of high-end still cameras which also record HD video, but that’s getting ahead of ourselves.

Designed with a 35mm sized chip, the camera is able to record video with the same depth of field as 35mm as well as having similar focal lengths, allowing for the use of existing lenses from other camera and 35mm systems.

The system allows the user to record in four different formats: 4.5k, 4k, 3k, and 2k and each of these can be framed or extracted in different aspect ratios. With the new Epic, whose sensor is 5k (5000 pixels across), the choices are 5k, 4.5k, 4k, 3k, 2k, 1080p, and 720p.

At this point your eyes are probably crossing and you’re saying, “so what?” Basically, what you need to know is that each successive format is a smaller cropped version of the previous one.

diagram showing a Super 35mm frame and the three extracted ratios

In Super 35mm, the frame, or negative is cropped according to the aspect ratio for the release. The difference is,  the cropping only occurs vertically. The width of all the formats is (nearly) the same, so that a lens focal length will be similar in each of them. Here is a diagram explaining the Super 35mm format from an article comparing digital and film formats that I wrote for theAug-Sept. 2010 issue of Perspective Magazine.

With RED, each format will have a narrower horizontal field of view than the previous one. Meaning that a 50mm lens in in 3k will have a much narrower field of view than it does shooting in full sensor 5k.

Below is a viewport in Sketchup™ set up using the Advanced Camera Tool pluging. The “camera” is set up for the full sensor option with the safe areas turned on for the other formats.

screen capture showing RED Camera full sensor area and 2K, 3K and 4K crop areas

In this screen shot of a model viewed with a 14mm lens, you can see how each progressively smaller ‘k’ format crops the sensor and has a narrower angle of view with the same lens. So, when you are setting up a model to view from a specific position with a particular lens, it’s important to know at what ‘k’ is the set going to be shot. Click on the image to enlarge it on your screen.

Chart of horizontal fields of view for various focal length lenses in the three different shooting formats

Here is a chart that breaks down the horizontal angle of views depending on which format the film is going to be shot in. The lenses listed are generic focal lengths and do not cover the entire range of lenses available. But, this should give you an idea of the proportional change in the horizontal angle of the captured frame based on the different shooting formats.

Suggested Reading – “Illustrated Cabinetmaking”

Face it, having to design furniture or create construction drawings for it is not on most set designer’s list of favorite-things-to-draw. Sometimes you can get away with doing what’s basically a giant napkin drawing but most of the time you’ve got to get into some real details: like joinery, hardware and material specs. And there are the standards: what’s the widest bookshelf you can have before you’ve got a serious sagging problem?

If you have only one book on furniture and cabinetry, Illustrated Cabinetmaking by Bill Hylton, is a good choice. Written for woodworkers, this book is an excellent reference for anyone who needs to draw or understand furniture design and construction. The book details over 90 different pieces and contains over 1300 beautiful pencil drawings. Each spread describes the piece in detail with exploded views and details, and gives design variations as well as sources for measured drawings.

 

 

There are also chapters on joinery, door and case construction, styles and the basic design standards for each type of furnishing.

Typical layout showing exploded views and details

Examples of joinery details

Each chapter is begun with a design standards chart

The book is published by Fox Chapel Publishing and retails for $24.95.

Required Reading – “Backstage Handbook”

You can never have enough good reference books. Even with the seemingly endless information that’s available on the internet, having a good reference book close at hand can save you hours of searching internet sites for a critical bit of knowledge.

There are certain books that are part of my kit that I make sure to always have with me because the information they contain is so useful and job-specific that I’m sure I’ll refer to them numerous times during a show.

One of these is the Backstage Handbook. It’s subtitle, “An Illustrated Almanac of Technical Information”,  is a perfect description of it’s contents. Profusely illustrated with crisp black and white drawings, the book is a visual reference of hardware, materials and architectural elements. Written by  Paul Carter, the book was originally written for those in live theater. Now in it’s third edition, the book includes chapters that pertain more to film work as well.

I’m now on my third copy of the book as they often fall apart from heavy use. The book becomes my repository for notes, tables and other bits of technical info that I want to keep in one place.

It’s a nice compact volume that provides a quick way to look up typical fasteners, steel sizes, material weights and sizes and a lot of other information you’ll often need without resorting to sifting through a McMaster-Carr catalogue or various other books.

It’s published by Broadway Press and retails for $18, although you can sometimes find it cheaper through Amazon. This is definitely a book you should own.

The Classical Orders Are At Your Fingertips

So, you need to work out the proportions of Doric or Ionic column and you left your reference books at home. They must be on the web, right? Yes they are, if you look in the right place.

The Institute of Classical Architecture & Art has a nice on-line reference of the five orders that’s very clear and easy to use. You can download each of the pages as a PDF, or just bookmark the site for easy reference. You can find it here.

Each of the drawings is accompanied by a brief but thorough explanation of the order and the proportions and nomenclature for each of the components.

Now you don’t need to panic if you can’t remember how to lay out the entasis on that column.

Doric capitol and entablature

The Historic American Buildings Survey

The Historic American Buildings Survey, or HABS, was established in 1933 by Congress to  create work for unemployed architects and photographers during the Great Depression. Their mission was to document as many representative examples of American architectural structures as possible.

The teams of ‘delineators’ and photographers were hired from all over the country and would document every kind of structure, both public and private. The subjects ranging from well-known structures such as Jefferson’s home, Monticello, to simple barns and gas stations.  They didn’t know that much of what they recorded on vellum and in photos would be the only trace left of these structures as a great many of them were torn down over the preceding years.

In 1969, the Historical American Engineering Record was started as a ‘sister’ agency to record historic engineering and mechanical structures. The HABS / HAER collection, housed and maintained by the Library of Congress, now numbers over 500,000 drawings of 38,000 structures that range from Pre-Columbian ruins to the 20th century. Much of the collection is digitized and is available through the Library of Congress website.

Besides containing a wealth of architectural details, the collection is also a virtual museum of architectural drawing styles. As you look through the collection you can see how the drawing styles of the ‘delineators’ changes as the years pass. The very artistic ‘hand’ of the 1930’s and 40’s gives way to the more spare and graphic styles of the 60’s and 70’s. The collection continues to be added to each year and working on HABS surveys is a right-of-passage for many architectural students.

Below is a beautiful example of a drawing of hardware from 1940. The influence of that period’s drawing style in set design drawings will be obvious to those who have been in the industry since the pre-CAD days.

hardware from the La Rionda Cottage, New Orleans, 1940

Below, a drawing of details from an early Texas home, drawn in 1934.

Texas residence moulding details, 1933

Many of the structures documented were only photographed, but quite a few were documented with drawings as well. A typical survey may include as few as 3 or 4 sheets of drawings. Some contain as many as 20 to 30 sheets of drawings which include moulding and hardware details.

Some, like the 1883 Gruber Wagon Works in Pennsylvania were done as an ’emergency project’, executed when a structure was either in danger of being demolished, or in this case, on the verge of being dismantled and moved to another location. The Blue Marsh Lake Project in the area was the reason for this structure’s relocation.

Documented in 1974 by the HAER  in 11 sheets of drawings and 215 photographs, the wagon factory was a rare existing example of late 19th century American industrial age. It contained most of the original belt-driven machinery, still in their original locations.

1974 HAER survey plan of the Gruber Wagon Works

 

 

Longitudinal Section

photograph of forge area

photograph of workbench

As a reference and research site for our line of work, it’s pretty hard to equal it. Drawings can be downloaded as a reference tool in either a smaller file size for letter-size copies, or at full resolution for larger prints.

You can search by site name, region, building type or one of a dozen other search terms. But, plan to set aside a fair amount of time when you do a search, as you will quickly find yourself distracted by the huge variety of the material in the collection.

You can find the site at:

http://memory.loc.gov/ammem/collections/habs_haer/index.html

Sign Letter Visibility And Focal Length

How big is the moon? Or, more to the point, how does the moon appear to change size so drastically? If you go outside at night and hold a ruler out at arms length, the moon will measure about 3/8″ in diameter. It will fit on the nail of your little finger.

Just as in the photos below, one silhouetting a hawk and the other an 8 foot statue, when shot with a camera it’s apparent size will vary according to the focal length of the lens it’s shot with.

photo by Charlie Riedel AP

 

 

 

 

 

Photo by Joseph Rodriguez AP

Take sign letters. An Art Director once gave me the chart below which is used to estimate the visibility of letters on signs, depending on the size of the letter and how far the viewer is standing away from it.  Obviously contrast plays a big part here, so this formula works best with red or black letters on a white background. Different colored letters or a darker background can reduce this distance by at least 10%.

 

These numbers, of course, only hold true when viewing them with the human eye. It’s obviously a different story if you’re shooting with a wide angle or long lens.

I’ve created a formula for applying the above data depending on the focal length of the lens being used. These focal lengths are equivalent to Super 35 or a 35mm size digital sensor.

To use the chart, just multiply the letter size by the multiplication factor. For instance, if you have a 24″ letter (or object) and shoot it with a 35mm lens, it will appear the same size as a 10.3″ letter would to the naked eye. The number in parenthesis is the division factor.

Please note these are rounded factors and the true result will vary according to the camera and sensor size as well as the lens. To convert the focal length of another sensor size, refer to the previous post on focal length conversion.

 

Lens Focal Length Comparison Chart

I created this chart last year for an article in September’s Perspective Magazine. Since then I’ve been asked for it several times and decided I should just post it where it’s easily accessible.

Using a straightedge, his chart will allow you to find the comparable focal lengths of lenses available in many of the popular digital sensor sizes as well as the typical film formats. You can download the PDF by clicking the link below.

Lens Focal Length Comparison Chart