BIG SENSOR, BIG HEADACHES

I was the 2nd Unit Director/DP on “Hocus Pocus 2”. The project was photographed with a “Monstro” sensor housed within a “Panavised” RED camera body. (The Monstro sensor approximates a 65mm 5 perf aperture.)

I’m not sure why we need a digital sensor this large, particularly when there aren’t enough “matched set” lenses available to properly cover the field. We had 7 lenses, 3 different manufacturers and not one of them was faster than a 2.8 plus two lenses couldn’t accept remote iris motors – PLUS - 2 required a special adapter. I noticed some vignetting on two of the lenses but they liked the look and wanted to shoot with them anyway.

If I was paying for a camera package that cost 40K a week I would want the option to add vignetting – not bake it in.

We had a similar issue on Transformers using the Alexa LF – not enough lenses available.

The other big deal is that since the Monstro is a much large sensor, you’ll need longer lenses to match the super 35 field of view. In other words, if you want to match the F.O.V. a 50mm provides via a conventional 35mm sensor, you’ll be wearing an 85mm lens to match that size with the Monstro sensor. We all know that pulling focus on longer lenses is harder, especially wide open.

Not sure we took full advantage of the 5K image either, as we stacked 2 kinds of diffusion in the matte box: #1 Black Satin and ¼ Soft Effects. (good filters for wrinkles and complexion.) Listen, I like that people are pushing the technology but I’m not sure that this sensor is ready for prime time. We are an industry that relies on efficiency and image consistency and I see neither with the Monstro sensor as of now.

PS – I’m hoping this vintage lens craze passes soon, I’m getting tired of veiling and unnecessary flaring.