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Lyrto Cinema: Implications on the filmmaking process

by Matthew Brown on Tuesday, April 19, 2016

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.


Matthew Brown
Matthew started working in the TV and Film industry directly after attending Briercrest. He now has years of professional digital film and television experience both on set, in the camera department and in rental houses, working for companies such as Disney, and on shows, such as: Tomorrowland, Hannibal and Supernatural. Most recently, Matthew has partnered with Tony Creech and now works as a chief operating officer at Citadel Magazine, and Creech League Marketing Arts.