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> My comment up-thread discusses why television shifting to 16:10 is unlikely, and it mainly has to do with lenses. It's not lenses as much as sensors. Most le

by jychang 13y ago

> My comment up-thread discusses why television shifting to 16:10 is unlikely, and it mainly has to do with lenses. It's not lenses as much as sensors. Most lenses have a circular image circle, which can cover a lot of aspect ratios. (The big exception is anamorphic, but I'm not too familiar with that.) Canon's new HD video lens system, for example, can be stuck on cameras with Super 35 sensors, or standard 3:2 photography 35mm film.

jsmthrowaway 13y ago
During the digital transition, we had to buy new bodies and new lenses. My understanding is that the transition to 4K will allow the same exact lenses to be used whether on a new body or the same body with a swapped-out sensor train. Going to 16:10, as I understand, would require new lenses, which is part of the reason NHK's demonstration of 4K equipment as a straight multiple of 1080p was desirable. I'm not an expert on the mechanics of how a lens works; I merely know enough to operate the camera and shoot a decent scene, and part of that is lens selection. If you can operate a 16:10 sensor behind, say, a HA18x7.6BERD with square pixels and no distortion or image loss, I stand corrected, but I don't think that's the case from my experience. Again, though, I just pushed buttons (in a single industry application of "transmit picture through lens and apply to persistent storage", television ENG/production), and I didn't take gear apart. I know there are lenses today that can operate at 4:3 and 16:9. Maybe the same concept?
radiowave 13y ago
Anamorphics produce a circular image as well, it's just that it represents an elliptical selection of what's in front of the the lens.
3pt14159 13y ago
It's more to do with director taste than sensors. My camera shoots 16:9 onto a 3:2 sensor, so it could easily go up to 16:10, but 16:10 looks worse than 16:9. Some directors shoot even tighter.
- devindotcom 13y ago
  Kubrick (and many others) shot stuff in 4:3!

by jychang 13y ago

jsmthrowaway 13y ago

During the digital transition, we had to buy new bodies and new lenses. My understanding is that the transition to 4K will allow the same exact lenses to be used whether on a new body or the same body with a swapped-out sensor train. Going to 16:10, as I understand, would require new lenses, which is part of the reason NHK's demonstration of 4K equipment as a straight multiple of 1080p was desirable. I'm not an expert on the mechanics of how a lens works; I merely know enough to operate the camera and shoot a decent scene, and part of that is lens selection. If you can operate a 16:10 sensor behind, say, a HA18x7.6BERD with square pixels and no distortion or image loss, I stand corrected, but I don't think that's the case from my experience. Again, though, I just pushed buttons (in a single industry application of "transmit picture through lens and apply to persistent storage", television ENG/production), and I didn't take gear apart. I know there are lenses today that can operate at 4:3 and 16:9. Maybe the same concept?

radiowave 13y ago

Anamorphics produce a circular image as well, it's just that it represents an elliptical selection of what's in front of the the lens.

3pt14159 13y ago

It's more to do with director taste than sensors. My camera shoots 16:9 onto a 3:2 sensor, so it could easily go up to 16:10, but 16:10 looks worse than 16:9. Some directors shoot even tighter.

devindotcom 13y ago
Kubrick (and many others) shot stuff in 4:3!