I had to do this on a feature I shot in 4 days (‘Broken Ceiling’) - shoot wide open on a full frame camera (Sony
NEX-VG900, precursor to the A7S) to hide the minimal art direction and filming almost entirely under available
lighting yet somehow the film was still nominated for two cinematography awards at the same festival.

I don’t think this would have happened if I had shot it on a micro 4/3 camera with it’s much deeper inherent
depth of field. The audience’s attention would have been focused more on the backgrounds and limitations
in the lighting (sometimes cringeworthy) and less on the excellent performances of the actors.

Jessica Gallant
Director of Photography | Los Angeles | CA
http://jessicajgallant.com
http://wb.imdb.com/name/nm0002680/
cell: 818-645-2787
email: jessicajgallant@...
Skype: jessicajgallant

On 3/30/18 12:03 PM, Jessica Gallant wrote:

I had to do this on a feature I shot in 4 days (‘Broken Ceiling’) -
shoot wide open on a full frame camera (Sony
NEX-VG900, precursor to the A7S) to hide the minimal art direction and
filming almost entirely under available
lighting yet somehow the film was still nominated for two
cinematography awards at the same festival.

I don’t think this would have happened if I had shot it on a micro 4/3
camera with it’s much deeper inherent
depth of field. The audience’s attention would have been focused more
on the backgrounds and limitations
in the lighting (sometimes cringeworthy) and less on the excellent
performances of the actors.
__________________________________

One should do what they believe is necessary to make the best images
within the situation and with the equipment they have.

On the other hand many of us believe there is way too much short DOF and
shaky cam these days.  And they have been a fad for many years now.  Add
the ungraded log look to the list as well.

Y'all take care,
Robert

Robert A. Ober
IT Consultant, Vidcaster, & Freelancer
www.infohou.com
Houston, TX

Absolutely spot on Art.