When composing and lighting scenes, DOP’s usually seek to maximize texture and perspective. The rationale is simple: We live in a world that is unmistakably three-dimensional, so DOPs seeking to faithfully represent the natural world exploit a range of ways to promote the three-dimensional illusion.
So you’re a producer, and your cinematographer is campaigning for the use of anamorphic lenses. Problem is, they’re expensive, and for people who aren’t cinematographic propeller heads, it can seem hard to justify. Let’s look at what’s going on and how we got here, without assuming the reader has a masters’ in cinematography.
The high-bright monitor sports a low-profile design for camera teams to view both HD and 4K video.
It’s nothing new for technological change to make things obsolete, but a camera manufacturer in the early 2020s might be forgiven a little nervousness. Just look at a catalogue from any electronics retailer in the late 80s. Bedside clock? More or less displaced by phones. Radio? Same. Walkman? Cellular communication devices do that, too. Dictaphones? You guessed it. And cameras? Well, holiday camcorders are a distant memory, as are point-and-shoot stills options.
The term “paperless office” goes back at least to 1978. The parallel term “filmless movie” is actually far older, dating perhaps from a 1930 article by the Hungarian inventor Dénes Mihály in the West Australian, published in Perth on 9 April 1930. Given how long it took us to actually achieve a filmless movie even after Mihály had proposed the idea, it’s perhaps no great surprise that the paperless office is still, mostly, some way out of reach.
Shinobi has a “bigger and brighter screen” with a calibrated peak brightness of 2200Nits for on set monitoring or preview display for video switchers or for vloggers presenting to camera. It has HDMI 2.0 support for 4Kp60, 3G SDI support up to 2Kp60.