Early last week I was captivated by the press surrounding the Lytro Cinema announcement. For those of you that don’t know, Lytro is a manufacturer of light field cameras.
Light field cameras are different than traditional or stereo cameras because they allow light to be captured from multiple vantage points, left to right, top to bottom, and all points in-between. The Light Field, with the rays’ color, intensity and angular directions are captured to produce images with both color and depth, which can be calculated through the intersection of rays of light in the scene.
Though this opens up a potentially groundbreaking production change for film-professionals, I am still unsure about the implications of this product on the industry.
The potentially problematic implications range from obvious to terrifying. A studio could decide well into post that a film should be released in 48 fps 3D, when the filmmakers thought they were making a 24 fps 2D film. The editor could not only zoom and reframe a shot, but even choose to dolly a bit left or right, and add in a rack-focus from one actor to another.