David I might know a little about how shots used in a commercial settings. Before 9/11 I had delivered well over 15,000 images for use in advertising and publications. Since then Most of my work has been Feature films
Maybe the people you work for don't know what their layouts are going to be. But I usually get a layout that has the exact dimensions of what ai am shooting.
As for paper sizes. WHAT? Matting maybe? You know you don't have to use the whole paper?
and a proper undistort tool LIKE WE HAVE IN THE CINEMATOGRAPHY WORLD properly scales the frame to match the undistorted image. They other thing we can't really do is crop. we Frame for a delivery aspect ration and shoot for 3 common frames. Common top, Center and Common bottom. Doing ANY cropping is just asking for problems in that world as you will get different type of softening in Film and digital. Which on a 40 foot screen will JUMP all over you. Paying for repo either via the time of having to show up for a session or the cost of paying for optical repo's doesn't make producers very happy usually. Happens all the time. You are trading one problem for a new problem and then picking which is the lesser of 2 evils.
again if you find that you have to crop a lot to make your images work then more framing practice is probably in order. When I was 17 this is one of the photographers that worked in the studio I was apprenticing at.
http://www.richardsprengeler.com/
Maybe the people you work for don't know what their layouts are going to be. But I usually get a layout that has the exact dimensions of what ai am shooting.
As for paper sizes. WHAT? Matting maybe? You know you don't have to use the whole paper?
and a proper undistort tool LIKE WE HAVE IN THE CINEMATOGRAPHY WORLD properly scales the frame to match the undistorted image. They other thing we can't really do is crop. we Frame for a delivery aspect ration and shoot for 3 common frames. Common top, Center and Common bottom. Doing ANY cropping is just asking for problems in that world as you will get different type of softening in Film and digital. Which on a 40 foot screen will JUMP all over you. Paying for repo either via the time of having to show up for a session or the cost of paying for optical repo's doesn't make producers very happy usually. Happens all the time. You are trading one problem for a new problem and then picking which is the lesser of 2 evils.
again if you find that you have to crop a lot to make your images work then more framing practice is probably in order. When I was 17 this is one of the photographers that worked in the studio I was apprenticing at.
http://www.richardsprengeler.com/
You can open pretty much any of these shots and find that they are all the same aspect ration as the 4x5 camera he shot them with. Why because he knows how to frame his shots. Then later when I was working for Mr. Crop (Arnold Newman) We still did everything we could to not have to crop but I would bet we could take any shot we cropped and print it full frame and it will still be a good shot because it was FRAMED PROPERLY because obviously Arnold knows how to compose a shot.
On Mon, Jun 3, 2013 at 2:12 PM, David Dyer-Bennet <dd-b@xxxxxxxx> wrote:
On 2013-06-02 20:41, RsLittle wrote:Cropping and framing are in no way different; the end results are identical.
Cropping a poorly framed compositions doesnt make for a better
composition.
The standard size papers don't even match the standard camera aspect ratios! (Anywhere below large-format, anyway). The suggestion that the huge range of standard aspect ratios are somehow each carefully considered artistic choices with a scientific basis is absurd.
If you find your self cropping that much you might choose
to aquire the correct equipment to create your compositions. Most
apsect ratios exist for a reason derived from some pyscological study.
Loose framing gives you room to correct lens distortion without losing vital elements.
Arbitrarily changing them defeats the use of the human brains natural
desire for certain things to be in certain ways. rules are made to be
broken only if you understand why the rule exist in the first place.
Loose framing wont help lens distortion.
(It also gives the editor room to crop the picture to work right on the page with the other design elements, which is why I was originally doing it. When one is shooting "art" then this one picture, or the construction the artist is planning around it, is all that matters, but for most commercial work the picture is going to be used as an element in a larger design, and the best cropping and aspect ratio isn't determined solely by the photo.)I think you are misunderstanding the problem. The tools we have now are "proper". The problem is that the "proper" correction leaves the picture funny-shaped, and when we then crop it back to a rectangle again, sometimes we lose things we didn't want to lose. Planning ahead for this can avoid this problem.
A proper undistort tool that properly scales the image is the right tool.
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David Dyer-Bennet, dd-b@xxxxxxxx; http://dd-b.net/
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