Jon Wilson (President and COO, Grass Valley): Klaus, I’ve been hearing a lot about this growing demand for a cinematic look in live production. Everyone seems to want that polished, film-style aesthetic. From your perspective, what’s driving this trend, and what does it take for cameras to deliver this kind of quality in real-time production?
Klaus Weber (Director, Product Marketing, Grass Valley): Jon, you’re absolutely right—it’s a big shift. Audiences are expecting a more immersive, film-like experience, even in live productions. Achieving this involves creating a shallow depth of field and rich visual depth. But the challenge is balancing that cinematic look with the unique demands of live production. For instance, while large-format sensors like Super35 are great for creating shallow depth of field, they’re not always practical for fast-paced environments where precise focus is critical.
Jon: That makes sense. So, would those larger sensors work in every situation, or are there limitations?
Klaus: They have their place, but they’re not a universal solution. Super35 sensors paired with PL-mount lenses are fantastic for close-ups and controlled shots. But for long-distance shots—like capturing action on a large stage—2/3” imagers are still the go-to. They offer a deeper depth of field, ensuring sharp focus across different distances, which is crucial in live scenarios.
Jon: I imagine maintaining a consistent look across multiple cameras is another challenge. How do you handle that?
Klaus: Exactly, Jon. It’s a critical aspect. When you’re using different types of cameras—whether it’s super slow-motion cameras, compact setups, or wireless units—you need consistent color reproduction, gradation, and sharpness. Advanced signal processing and color matching become essential here to ensure uniformity, no matter the camera type.
Jon: And I assume the shutter type plays a role, too?
Klaus: It does. A global shutter is a must in live environments, especially when shooting around LED walls or other electronic displays. Rolling shutters often produce artifacts that are unacceptable in professional live productions. Interestingly, while many digital cinematography cameras with Super35 sensors don’t have global shutters, our solutions are designed to avoid these issues.
Jon: So, it’s about finding the right balance—leveraging both Super35 and 2/3” imagers based on the needs of each shot?
Klaus: That’s right, It’s all about strategic deployment. Each sensor format has its strengths, and by combining them intelligently, we can create a cinematic look without compromising clarity, focus, or the real-time responsiveness that live production demands.
Jon: That’s fantastic, Klaus. I’m sure this is just the tip of the iceberg. For anyone wanting to explore these concepts in greater depth, where can they learn more?
Klaus: For a detailed analysis of the requirements and optimal camera configurations, I’d recommend checking out our white paper on achieving the film-look in live production. It covers everything from sensor choices to signal processing in much greater detail. You can find it here!
