LIVE SPORT


CINEMATIC SPORT


cine-lens and matte box. “Due to the nature of the effect


and the VariNDs 1.5 stop initial light loss it is best to use high-ISO cameras, which is why most productions opt for the dual-ISO Sony Venice camera,” he continues. “That way the camera can be set to ISO 2500 and the iris stepped down to T8 to achieve an image that is similar to the small-chip Grass Valley, Panasonic, or similar cameras but also quickly change to T1.4 to achieve the cinematic look. The VariND [is] maintaining exposure, rather than the operator having to change back to ISO500 and exchange traditional ND filters to get the correct exposure.” Tomás now prefers to use a 50mm


“Cinematic images work best in


dramatic moments when you want to direct the viewers’ eyes to a specific part of the frame”


OLIVER JANESH CHRISTIANSEN CINEFADE


filters. The result was very noticeable to the viewers. Tomás started researching online


for a better method and saw examples of the Cinefade VariND system used on film and high-end TV. “The Cinefade system is designed


to be quickly set up and operated so that you can transition from a deep depth of field to a shallow depth of field at a moment’s notice,” says its developer Oliver Janesh Christiansen. “Cinematic images work best in dramatic moments when you want to direct the viewers’ eyes to a specific part of the frame or to isolate the goal- scorer and draw attention to them.


This works particularly well if you manage to time the transition from a deep to a shallow depth of field when the player does their celebration to coincide with the director cutting to that camera, which can be difficult to achieve in a live environment.” The system consists of one


motorised and one static polariser, which together form a variable ND filter that can be remotely controlled. The operator can vary iris diameter and affect depth of field, while the system automatically varies the light transmission to maintain a constant exposure. It works on any camera system with a


Tokina Vista Prime lens on the Venice for a 3/4 portrait shot. “Sometimes when the game is on, I keep the lens at maximum, at T8 or T11 depending on the lighting conditions. When the players are coming to me to celebrate or I’m chasing them, the focus puller knows to open the iris slowly, to keep blurring the background.” “Communication and timing


between the director in the OB van and Steadicam operator on the pitch, as well as between Steadicam operator and camera assistant are crucial when you want to try to get the transition shot live on air,” notes Christiansen. With motorbike racing and other


sports exploring ways of integrating the cinematic look, it’s clear that there will be a lot of close focus in the future of sports coverage.


40


televisual.com Winter 2022


CREDIT: RAFAEL APARICIO


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