What is the Best Aperture for Filmmaking?

[diatarussoulbane]

Roger Deakins' (and many other DPs) general rule of thumb is t2.8 for interior and t8 for exterior on s35.

[yetanotherbassdude]

Fun fact: with a lens focal length of about 22mm, the human eye has a natural f-stop of around f/2.8 when the pupil is opened to around 8mm, which would be fairly typical for indoor light levels. Our retinas are also not far off the size of a super-35 frame, albeit a curved, hemispherical one. We literally see the world in something close to super-35 f/2.8 by default. Might be that's also a factor in why so many DP's and directors like shooting it?

[ArseniiSavitckii]

“I learned a lens operated to its best advantage at an aperture of T4-5.6” - sir Roger Deakins

[yeaboy]

Too many films nowadays use low apertures for the bokeh look. This is perfectly fine to give a certain effect, but I prefer when everything is in focus for most of the film. Great video! 👍

[MWB_FoolsParadisePictures]

For how little it's discussed, this is such an important factor in answering the question, "What helps footage appear 'cinematic?'"

[michaelinminn]

Probably a stupid comment, but,
in still photography, I always went for f5.6.

Gotta say, you are very good at explaining cinema.

[truefilm]

Awesome video as always! Of course in a low budget film project you don't have the ability to control light to such an extent. I personally like movies with different focal lenghts mixed. Shorter focal lengths are great for those emotional tracking, Steadicam and dolly shots and longer ones are great for shallower DoF. Of course the latter is harder to achieve with a Micro 4/3rds sensor or Super 16mm film. And yes: the most recent 4K scans of classic movies reveal focus problems. If the actor hold their head just a little closer of farther away from the camera, it will be out of focus. My utmost respect to focus pullers who did things like rack focus or following a dolly-in, during an era before video tap.

[AVISIONMUSICTV]

T2.8-T5.6 depends on the camera system, lens, lighting and composition

[danielromashov]

I don't know whether there is an equivalent among English speaking cinematographers but there is a rhymed Russian proverb that appeared among Soviet era DoP's: "If there's sun or if there is no sun the f-stop is 5.6". This was said about S35 obviously and this wasn't a dogma, it was somewhat humor. I suppose that partly this concept appeared because of rather big difference in quality of copies i.e. sharpness of Russia produced lenses in 1960-80-s in general and partly as a matter of optics physics. Being a photojournalist myself I do use f5.6 (on FF) to obtain optimal resolution when shooting reportage and I usually try not to go further than 1/2 of f-stop of the lens, no matter which focal length, if I shoot portrait or something that I want to be more poetic.

[ifiwere]

I have edited myself into movies and TV shows using some of your advice, tips and tricks so thanks!!!

[notnikola]

To those who are confused, the same way you multiply focal length, you do aperture as well.
Meaning, a 50mm f1.4 on aps-c will be equivalent to a 75mm f2.1 on full frame.
Unless cropped, aps-c cameras, like the a6500, shoot video on a sensor size equivalent to Super 35mm.

[digital-eyes]

Really appreciate just getting to the point and then offering to find out why. Which I did. Thank you.

[ethanhegel]

A T-stop is simply the amount of light that is allowed to hit the sensor after passing through the lens, and an F-stop is the amount of light that enters the lens to begin with. All lenses have an F-stop and a T-stop, but you have to realize that with an F-stop on a lens you’re not getting as much light on the sensor as it says on the lens, but with a T-stop you are.

[UserDestroyer]

Got tired of these amateur filmmakers, who use shallowest DOF possible, flat and bland color grading, storytelling cliches
And they also combine shots of trees, branches and flowers and call it SHORT FILM!
Thank you, great video

[craigdeeker]

I like this conversation and on the whole its a good generalisation. I think its more accurate to say there is a range. Most cine lenses past 135mm were not t2.1 back in the day. I have zeiss mk2 standards that are t2.1 and i have a 180mm that is t4. Most telephoto lenses back then were slower. I totally agree that stopping down is necessary on these old lenses, half a stop down and they are a lot sharper than wide open. Same with super speeds. Master primes and lenses made after that you could open them right up but certainly not the old gear. 2.8 - 5.6 has been the aperture range most films ive worked on, except in extreme circumstances. Wide lenses at 2.8 and longer lenses you can shoot 4, 5.6, just to control how much nd you use and so it doesnt go completely mushy.
That being said having a benchmark to start from, consider 2.8 and then break the rule deliberately is the best thing. Thats why i think this is a good video.

[Holtenstein]

I agree, with anamorphics I want to be closer to an T4 or T5.6 to get that same T2.8 look due to having 2x less DOF

[LukePerri]

I love how you posted the same video twice with basically the same exact script just two years a part

[teacherofteachers]

I realize that sharpness isn't everything, but the discussion at 4:15 is enlightening and has me thinking (hypothetically). Suppose I want to shoot with a 2.8 aperture as much as possible. And suppose money is not an issue. Should I trade in my 2.8 lenses for (otherwise identical) 1.4 lenses, so that I can stop them down to 2.8? As things stand, to get 2.8 I have to shoot "wide open, " thus sacrificing some sharpness. Just curious.

[uriahocean]

amazing. Love your teaching and knowledge.

[thecrudepodcast]

Great in-depth video bro ❤️❤️❤️

True master class! Thank you much!!!