Selecting Cine-Cameras and Lenses for DCP Film Projects

Table of Contents

Cinema Aspect Ratios and DCP Resolutions

Cinemas typically use two standard aspect ratio settings:

Flat (1.85:1)
Scope (2.39:1)

Digital Cinema Package (DCP) Resolutions:

There are four standard DCI DCP resolutions used for films in cinemas:

4K Scope (2.39:1): 4096 x 1716 pixels
4K Flat (1.85:1): 3996 x 2160 pixels
2K Scope (2.39:1): 2048 x 858 pixels
2K Flat (1.85:1): 1998 x 1080 pixels

All cinemas are equipped to handle both 2K and 4K resolutions in Flat and Scope formats. When using 2K projectors, the 4K resolution layer is automatically discarded.

Screen Configurations:

Fixed-Height Cinemas (Most Common):

Screen aspect ratio is 2.39:1
Scope (2.39:1) fills the entire screen
Flat (1.85:1) is centered with pillarboxing

Fixed-Width Cinemas:

Screen aspect ratio is 1.85:1
Flat (1.85:1) fills the entire screen
Scope (2.39:1) is centered with letterboxing

Other Aspect Ratios:

Aspect ratios smaller than 1.85:1 (e.g., 1.37:1, 2.0:1) are typically presented within the Flat (1.85:1) format.
Aspect ratios larger than 2.39:1 (e.g., 2.66:1) are usually presented within the Scope (2.39:1) format.

Special Cases:

Some films with a 2.2:1 aspect ratio have been delivered in the Flat (1.85:1) format.
“Oppenheimer” (2023) was delivered in both Flat 2.2:1 and Scope 2.2:1 versions: Read more in this post

More info on DCPs

A Digital Cinema Package (DCP) is often designed to emulate the look of an analog 35mm film print. In traditional analog movie theaters, the white point was determined by the Xenon bulb in the projector, typically around D60. While DCPs can use a cooler D65 white point, many filmmakers opt for the warmer D60 to maintain the 35mm film aesthetic.

All 35mm prints inherently contained film grain, even for digitally shot movies. To avoid a clinical look in digital productions, some filmmakers add grain in post-production or use vintage and detuned lenses, preventing a sterile or TV-like appearance.

DCPs are projected on large screens where compression artifacts are more noticeable than on smaller displays. To maintain quality, DCPs use:

High bit depth (12-bit, 2.6 gamma)
High bitrate JPEG2000 compression (250 Mbit/s)
Intra-frame compression (each frame compressed individually)

This approach allows for the preservation or addition of film grain and noise without introducing low bit-rate artifacts like blocking, banding, or unnatural patterns in shadow areas. Bit-rate intensive footage, such as a plane flying over a forest, benefits particularly from this high-quality compression.

Cinema screens typically have lower light intensity (14 foot-lamberts) and contrast ratios compared to modern OLED TVs. If the light intensity is set too high in the cinema, colors may appear oversaturated, and blacks may look grey.

DCPs can use either the Rec.709 or P3 color space at 14 foot-lamberts. The P3 color space offers more saturated dark red, orange, and violet colors compared to Rec.709/sRGB.

Recommended Cine-Camera Settings and Practices for Digital Cinema

Netflix’s Approved Camera List of approved 4K cameras for original content serves as an excellent reference for high-quality cine-cameras. This list includes:

Recommended camera models
Suggested practices (e.g., using framing charts)
Specific settings for each camera model for Netflix’s 4K productions

While filmmakers creating content for cinema distribution aren’t bound by Netflix’s exact specifications, many of their recommended settings are beneficial for digital cinema production:

Key Recommended Settings:

Recording format: At least ProRes or equivalent
Bit depth: Minimum 10-bit
Color profile: C-LOG or similar logarithmic profile

Characteristics of High-Quality Digital Cine-Cameras:

Recording Formats:

High bitrate RAW (e.g., ARRIRAW)
Semi-RAW formats (e.g., Blackmagic RAW)
High-quality compressed formats (e.g., ProRes)

Color Profile:

Logarithmic profiles (e.g., C-LOG, Blackmagic Film)

Bit Depth:

Minimum 10-bit
Preferably 12-bit or higher

Resolution:

DCI 2K
DCI 4K
Higher resolution like 6K

Framing Aids:

Guide lines for 1.85:1 (Flat) and 2.39:1 (Scope) aspect ratios

Benefits of High Bitrate and High Bit Depth Recording:

High-quality recording preserves:

Wide dynamic range
Shadow detail
Fine details in complex scenes (e.g., forests, water)

These settings and practices help ensure that the captured footage maintains its quality throughout post-production and final presentation in digital cinema environments.

Choosing Sensor Size and Resolution: ARRI Alexa 35 Case Study

The ARRI Alexa 35 is a prime example of a modern digital cinema camera that offers flexibility in sensor utilization and resolution options.

Camera Specifications:

Sensor: Super 35 4/3
Native Resolution: 4.6K

Key Features:

ARRI Textures:

Selectable “digital film stocks”
Options include:
a) G733 nostalgic: Simulates organic, grainy 35mm film look
b) Standard ARRI look: Similar to the discontinued ARRI Alexa Mini

Recording Capabilities:

Direct 4K DCI resolution recording
Example settings:
- Color profile: C-Log4
- Format: ProRes
- Aspect ratio: 2.39:1 (Scope)
- Anamorphic: 2x
- Resolution: 3328×2790 (20.21 x 16.95 mm)
- Desqueezed output: 4K DCI Scope (4096×1716)

Sensor Area Utilization:

Active sensor area: 20.21 x 16.95 mm
Image circle: 26.3 mm

Lens Compatibility:
The Alexa 35’s sensor size allows for the use of traditional anamorphic lenses. For example:

Atlas Orion anamorphic lenses
Cover a sensor area of 24.89 mm x 18.66 mm
Fully compatible with the Alexa 35’s active sensor area

This combination of the ARRI Alexa 35 with 2X anamorphic lenses provides filmmakers with the ability to capture high-quality 4K DCI Scope footage while maintaining the unique characteristics of anamorphic cinematography.

Choosing a look

Choosing a Cinematic Look: A Guide

Research and Resources

To select the right look for your film, it’s crucial to research current cinematography trends and techniques. Valuable resources include:

American Cinematographer magazine: Offers in-depth interviews and technical information on cameras, lenses, lighting, aspect ratios, and color grading.
Indiewire cinematography surveys: Provides insights from cinematographers on their equipment choices and techniques.

Camera Formats and Trends

a) Large Format / Full Format / 65mm
Popular cameras:

ARRI ALEXA LF mini
Sony Venice

Recent examples:

“Titane” (2021): ARRI ALEXA LF mini with Zeiss Supreme lenses
“Glass Onion” (2022): ALEXA LF with Zeiss Supreme lenses
“1917” (2019): ARRI ALEXA LF with ARRI Signature Prime lenses
“Dune” (2021): ARRI ALEXA LF with Panavision Ultra Vista Anamorphics and H series spherical lenses

b) Super 35
Popular cameras:

ARRI Alexa Mini
RED cameras
ARRI ALEXA 35 (4K capable)

Popular lenses:

Cooke S4
Leica Summilux
Zeiss Super Speeds
Rehoused Super Baltars
Canon K35

Recent examples:

“Another Round” (2020): ARRI Alexa Mini with Canon K35 lenses
“Mank” (2020): RED HELIUM 8K S35 Monochrome with Leica Summilux lenses

c) 35mm Film
Recent example:

“Licorice Pizza” (2021): 35mm film with Panavision C-series anamorphic lenses

d) Super 16mm Film
Recent example:

“Spencer” (2021): Super 16mm film with Leitz Summilux and Zeiss Ultra 16 lenses

Techniques for Achieving Specific Looks

a) Avoiding Clinical Look:

Use diffraction filters (e.g., “Titane”)
Apply post-production tools (e.g., “Glass Onion”):
- 35mm film stock color simulation
- 35mm halation simulation
- 35mm grain simulation
- Film gate weave simulation

b) Achieving Cinematic Anamorphic Look:

Horizontal flares
Oval bokeh
Organic focus fall-off

c) Vintage Look:

Use rehoused vintage lenses
Apply film simulations in post-production

d) Shallow depth of field:

Use larger sensor formats or film stocks
Use lenses wide or nearly wide open (lower T or F numbers)

Considerations When Choosing a Look

Project genre and tone
Director’s vision
Budget constraints
Post-production workflow
Distribution format (theatrical, streaming, etc.)

Remember that achieving your desired look involves more than just camera and lens choices. Lighting, production design, costume, and post-production all play crucial roles in crafting the final visual style of your film.

Modern or vintage lenses

Vintage Lenses vs. Modern Lenses: A Comparison

The Zeiss Technical papers on field depth and MFT explain some of the science behind lens design:

Focus Pulling:

Vintage lenses often have aberrations that can make focus pulling easier compared to modern lenses.

Character and Aperture:

Vintage lenses typically show more character when used wide-open or nearly wide-open.
Stopping down these lenses tends to reduce chromatic aberration.

Bokeh and Sharpness:

MTF charts don’t always predict pleasing bokeh.
A lens can be perfectly sharp but still lack nice focus fall-off.

Depth of Field Comparison:

On an APS-C sensor, a lens at f/2 produces a depth of field similar to f/2.8 on a full-frame sensor.
Note: This can vary depending on the specific sensor used.

Sensor Size and Resolution:

Larger sensors and higher resolutions capture more details.
This increased detail capture can benefit softer lenses.
Remember: Both sensor characteristics (size/resolution) and lens performance contribute to the final image detail.

In summary, while vintage lenses may lack the technical perfection of modern glass, they often offer unique characteristics that can enhance your creative vision.

Modern lenses

ARRI Signature Primes: Modern Lenses with Classic Appeal

ARRI Signature Primes are cutting-edge lenses designed for high-end cinematography. Here are their key features:

Consistency Across the Set:

Uniform T-stops and matching characteristics throughout the lens range.

Image Quality:

Smooth, pleasing transition from sharp to out-of-focus areas.
High sharpness maintained even at wide-open apertures.

ARRI LPL Mount:

A new design with larger diameter and shorter flange focal distance than traditional PL mounts.
Allows lenses to be positioned closer to the sensor with a wider opening.

Telecentric Design:

Facilitated by the LPL mount’s design.
Rear element is nearly the same size as the sensor.
Light rays hit the sensor and optical low-pass filter at more perpendicular angles.

Benefits of Telecentric Design:

Reduces risk of aberrations, particularly blurring at image edges.

In summary, ARRI Signature Primes combine modern optical technology with a design that produces a pleasing, cinematic look, making them a popular choice for high-end productions.

Vintage lenses

Vintage Lenses in Modern Cinematography

Vintage photographic lenses from the ’60s, ’70s, and ’80s, along with older cinema lenses, are increasingly popular alternatives to modern cine lenses. They offer an organic look, especially when used wide open or nearly so.

Rehousing Vintage Lenses:

When rehoused, these lenses typically receive:

Circular irises
Standard modern cinema lens front sizes (95mm and 110mm)
No telescoping
Increased focus rotation
Focus and iris gears in standard positions, compatible with motorized follow-focus systems

Rehousing Companies:

Zero optic:

Rehouses: Baltars, Canon FD, Canon K35, Canon Rangefinder, Leica, Nikon AI/AI-S, and Olympus OM lenses
Provides detailed descriptions of each brand

TLS :

Rehouses similar lenses to Zero Optic, plus:
- Cooke Speed Panchros
- Contax Zeiss
- Mamiya 645
- Kowa Cine Prominar sphericals

Rental Options:

Old fast glass in LA offers many rehoused sets from Zero Optic and TLS, including the Kowa Cine Prominar set, with comprehensive descriptions and video samples.

Lenses with Vintage Aesthetics:

Hawk Vintage 1.33x large format lenses:

Vantage studied ’70s lens coatings and elements to design modern lenses with a vintage look

ARRI Rental Moviecam Prime Lenses:

Originally rehoused in the ’80s using ’70s Olympus and Canon donor lenses
ARRI Rental’s alternative to ARRI DNA and Canon K35 for full-frame
Features controlled, beautiful organic flares and a characterful yet consistent look
Multi-coated, but with fewer layers than modern lenses (typically 7 layers), resulting in beautiful flares and lower contrast

In summary, vintage lenses offer unique characteristics that many cinematographers find appealing, while modern lenses designed to mimic vintage aesthetics provide a blend of classic looks with contemporary engineering.

The Popularity of Vintage Donor Glass in Modern Cinematography

Vintage photographic lenses have gained popularity in cinema due to their ability to cover full-frame cine camera sensors. ARRI Rental’s decision to revive the Moviecam lenses stems from their belief that these lenses perform better on full-frame than on Super-35 sensors. Here’s some possible reasons why:

Field of View:

A 40mm lens on a full-frame cine camera provides approximately the same field of view as a 28mm on a Super-35 cine camera.
Vintage normal and medium telephoto still photography lenses (40mm, 50mm, 60mm, 85mm) are more versatile on full-frame and often offer more pleasing focus fall-off compared to wide-angle lenses.

Image Circle Utilization:

Full-frame sensors use more of the lens’s image circle.
This makes aberrations like vignetting, field curvature, and barrel distortion more pronounced compared to smaller Super-35 sensors.
For cinematographers seeking vintage aberrations, full-frame can be advantageous.

Depth of Field:

On full-frame, the shallow depth of field is more noticeable, especially with longer focal lengths like 60mm.
However, it’s worth noting that pulling focus at wide apertures (e.g., T1.5) may be easier on Super-35 cameras due to the increased depth of field.

Choosing a cine-camera and lenses for a cinema DCP film