BEGIN:VCALENDAR VERSION:2.0 PRODID:-//swoogo.com//NONSGML kigkonsult.se iCalcreator 2.41.90// CALSCALE:GREGORIAN UID:33366664-3066-4530-a639-633332306662 BEGIN:VEVENT UID:6e3e23a8e1aee5904c02fb65d37718e032333d3b@swoogo.com DTSTAMP:20260817T133154Z DESCRIPTION:In live productions\, achieving a film look often requires came ras with shallower depth of field\, typically provided by larger imagers. While a Super35 imager with PL mount lenses is ideal for a film-like appea rance\, many live applications use smaller 2/3” imagers\, which can result in overly shallow depth of field. A mix of camera types—standard\, super slow-motion\, wireless\, and compact—is needed\, each with consistent colo r reproduction and image sharpness. This paper explores the differences be tween film and live production camera requirements\, highlighting that whi le larger imagers are preferred for their depth of field\, live production s often need global shutters not available in all cinematography cameras. It examines how advancements in CMOS imagers and signal processing can bri dge these gaps\, offering solutions to achieve a film-like quality in live settings while accommodating the specific demands of both environments. DTSTART:20241024T003000Z DTEND:20241024T010000Z LAST-MODIFIED:20260817T133154Z LOCATION:Session Room 1 SEQUENCE:0 STATUS:CONFIRMED SUMMARY:Film-Look in live production - What are the specific requirements a nd what does an optimal camera look like? TRANSP:OPAQUE X-ALT-DESC;FMTTYPE=text/html:

In live productions\, achieving a film look often requires cameras with shallower depth of field\, typically provided by larger imagers. While a Super35 imager with PL mount lenses is ideal f or a film-like appearance\, many live applications use smaller 2/3” imager s\, which can result in overly shallow depth of field. A mix of camera typ es—standard\, super slow-motion\, wireless\, and compact—is needed\, each with consistent color reproduction and image sharpness. This paper explore s the differences between film and live production camera requirements\, h ighlighting that while larger imagers are preferred for their depth of fie ld\, live productions often need global shutters not available in all cine matography cameras. It examines how advancements in CMOS imagers and signa l processing can bridge these gaps\, offering solutions to achieve a film- like quality in live settings while accommodating the specific demands of both environments.

BEGIN:VALARM UID:30373932-3662-4233-a561-623061376561 ACTION:DISPLAY DESCRIPTION:In live productions\, achieving a film look often requires came ras with shallower depth of field\, typically provided by larger imagers. While a Super35 imager with PL mount lenses is ideal for a film-like appea rance\, many live applications use smaller 2/3” imagers\, which can result in overly shallow depth of field. A mix of camera types—standard\, super slow-motion\, wireless\, and compact—is needed\, each with consistent colo r reproduction and image sharpness. This paper explores the differences be tween film and live production camera requirements\, highlighting that whi le larger imagers are preferred for their depth of field\, live production s often need global shutters not available in all cinematography cameras. It examines how advancements in CMOS imagers and signal processing can bri dge these gaps\, offering solutions to achieve a film-like quality in live settings while accommodating the specific demands of both environments. TRIGGER:-PT15M END:VALARM END:VEVENT END:VCALENDAR