By Staff, August 21, 2008
Art Adams of ProVideoCoalition.com turned a misunderstanding published in Wired magazine into an opportunity to teach.
In the Wired article about RED Digital Cinema's RED ONE camera ("A Star is Born," Sept. 2008), it is implied that depth of field has something to do with analog capture versus digital capture. Adams notes, "The 'Analog Advantage' box on page 133 says, 'Analog film lets moviemakers control the depth of field; 2k and HD cameras force everything into focus.' This is just plain wrong: depth of field has to do with optics and sensor size, and nothing to do with analog or digital capture."
In addition to contacting both the author of the piece and the magazine's editorial department (Wired Magazine Gets the RED Totally Wrong), Adams published a post on why 35mm film and large-sensor HD cameras have so little depth of field
. Adams' discussion is a good read for novice and expert alike, and is available here: What Wired Didn't Understand about Depth of Field.
The Wired article is available online: Analog Film Meets Its Match in Red Digital Cinema's Ultrahigh-Res Camera. You can discuss this piece and all other cinematography topics in our digital cinematography forum.
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