With a time-lapse set to take a few photos per second, you can still see the movement of people and objects but they look like they’re in a little toy box. Screengrab from Philip Bloom’s Cinematic Masterclass – Image credit: Philip Bloom / MZed Philip recommends finding a scene where there are people, cars, boats, or other kinds of motion we expect notions of what we should see. In this lesson of Philip Bloom’s Cinematic Masterclass, you can see a few examples of this effect. Click on the image to see the timelapse GIF. The sped-up footage, along with only a small area being in focus, gives you the ability to miniaturize the world. One of the more popular ways to use tilt-shift lenses in video production is to capture wide scenes via time-lapse. Screengrab from The Secrets of Optics – Image credit: Mitch Gross / AbelCine Time-lapse with tilt shift lenses The Specialty Optics module also includes discussions on macro and anamorphic lenses. To further demonstrate the effects, I shot some footage using a Canon tilt-shift lens on a Canon C300 Mark II. In “The Secrets of Optics” course, Mitch goes into more detail about tilt-shift lenses, using some in-studio examples. The vertical lines of the building will run parallel to each other rather than pointing inwards. Image source: “ Canon 101: Tilt-Shift Lenses | More Than Just For Buildings – ”īut with a tilt-shift lens, you can modify the angle of the lens so that the image of the building squares up. It’s especially noticeable for tall buildings. With a standard lens, the vanishing perspective lines will distort the building into a triangular shape. One of the primary use cases for a tilt-shift lens is when capturing architecture or tall buildings. Screengrab from The Secrets of Optics – Image credit: Mitch Gross / AbelCineĪ good use for this effect would be shooting a driver and passenger in a car, where your camera is placed at the driver side window and you want to have both subjects in focus, without stopping the aperture down to dramatically increase the depth of field. Essentially, you’re arcing the front of the lens so that two subjects are both at a parallel angle of light. There’s an almost radial look to the out-of-focus area around the subject.įrom a filmmaker’s point of view, you can use a tilt-shift lens to shoot two subjects at an angle, while keeping them both in focus. Here’s a photo I took of my neighbor, using a Lensbaby Sol tilt-shift lens. Image credit: Slavik Boyechkoįor close subjects, this makes for an interesting stylistic effect. As you move the tilt-shift lens around, you can get a unique look where only a part of the image is in focus and the rest falls off into a blur. The immediate effect of this is you can change the depth of field to do things that a regular lens can’t do. So now you can essentially “see around a corner” or look sideways at an object. Unlike spherical lenses which have the mount and the body of the lens locked together, a tilt-shift lens frees the body of the lens to move around. The lesson on tilt shift lenses, or “shift and tilt” lenses as they’re sometimes called, goes into some detail about when it makes sense to reach for a lens that lets you manipulate the focal plane. In “The Secrets of Optics” course on MZed, educator Mitch Gross dedicates a module specifically to specialty optics and adapters. Let’s take a quick look at what you can do with a tilt-shift lens. Now that we seem to have more than enough cameras to satisfy our filmmaking needs, it’s a good time to focus on lenses, and in particular specialty lenses.
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