As a follow-up on my previous post, here is a bit more information about that truly mesmerizing Adobe research project, which proposes to build lenses that act as multiple lenses. This will enable the camera to take multiple pictures at once, shifting the job of setting focus from the Focus Puller to the post production process.
Take Several Shots at Once With multiple eyes—Adobe’s prototype has 19—the light-field camera is even more perceptive. Each of its lenses is faced with a prism set at a unique angle, so it can take 19 pictures simultaneously, with each capturing a different part of the scene in focus. Each image uses a piece of the sensor, so a 100-megapixel camera will yield 19 5.2-megapixel shots.
Fill in the Blanks But the process doesn’t stop there. Adobe software can analyze the 19 captured photos and from them generate thousands of intermediate images so that each shot seamlessly morphs into those adjacent. Then images are layered, like thin sections, producing a three-dimensional simulation of the scene in which every piece of it is in focus.
Paint in Your Focus Because a light-field photograph is dynamic—virtually three-dimensional—focus can be selectively painted in with a “focus brush,” allowing the photographer to bring details from both foreground and background into focus—something that’s currently impossible in a single photo. Or future online photo sites could let viewers manipulate a photo’s focus as they choose.
(Excerpt from PopSci.com.)
As a former Focus Puller I find this very exciting, as the technology proposes to give the director so much more freedom in post. Ultimately, it will help to tell the story, and that is what camerawork should be all about. But also from a technical side, it appears that the age-old connection between aperture and depth-of-field ceases to exist. I can only begin to imagine the plethora of new creative uses this lens throws towards us camerapeople.
HD will feel like home movies
In stills photography, resolution has quickly increased from a mere 250.000 pixel to two-digit megapixels. The video world has been much more conservative. Until a few years back, there was only SD, which has about 1/4 megapixels. HD is just now starting to catch on, which delivers roughtly between 3/4 and under 2 megapixels. But already now, some camera producers are pushing forward with 2k and even higher resolutions. But my guess is that 4k will only the beginning.After having gotten used to DVD quality, old VHS films are almost painful to watch. Looks like the same will happen to HD in the not-too-far future…
Good for the ops
For an camera operator, the biggest handicap with the modern cameras are their viewfinders, which simply do not show all of the resolution that camera records. The Red One for example, shows the operator only a fraction of the total resolution. Which means that the operator can never be sure in critical focus situations. Now that Adobe Lens would relieve us from one worry.Now, for the career Focus Puller this does pose some trouble. That title might just fade out, and revert to “1st AC”. But I would suggest to learn more about the new workflows around digital acquisition, and I am sure there will always be enough work in the camera dep´t.
