Realism has always been a stable in live broadcasting. But a shift is gradually becoming noticeable, and “live” increasingly means “cinema”. We explain what makes the CineLook and what is needed to achieve it.
You can see the change in the broadcasting sector more than before: In areas where the Cinematic Look played little to no role just a few years ago, there is now a growing demand for a larger, more epic, and deeper feel.
Think of the overly realistic images in sports broadcasting or general news reporting: Whereas it was the standard for a long time to present the action directly and realistically, a shift has been taking place for some time now, which camera manufacturers have recognised and are increasingly catering to – now even in 4K.
Flashback to the NAB Show in Las Vegas, Nevada, in April: At the world’s most important broadcasting trade show, the change within the industry is visible at every corner. More and more cameras are being presented that continue to narrow the gap between cinema and broadcasting, ultimately blurring the line entirely.
But what exactly is the CineLook? And what technical specifications are necessary or helpful to create it outside the movie screen?
Camera manufacturers like Sony or Arri see the growing market for cinematic looks and are responding with new camera systems: Alongside their broadcast cameras, they are also releasing cinema-broadcast cameras. One of the key differences here is the significantly larger sensor, such as a Super 35mm or full-frame sensor.
These are primarily used in the cinematic field and are a massive difference compared to the standard 2/3-inch camera sensors, among other reasons because they allow much more light to enter, capturing clear images even in challenging lighting conditions.
Another aspect is the depth of field, which is much easier to achieve with such a cinematic camera. This makes the cinematic look with a sharp foreground and a blurred background not only much simpler to achieve: when filming in front of LED walls or displays, the special depth of field prevents the typical moiré effect, which is often an undesirable byproduct in such projects.
All these are features and trends that have long been established in the cinematic field but are now increasingly being seen in live broadcasting. The differences are enormous and are steadily changing the live sector as a result. But this also means simplifying the workflow – because while broadcasting equipment needs to be easy to handle and flexible to be prepared for all eventualities, film cameras are often less flexible devices that don’t require this flexibility due to the meticulous planning of a film or TV production.
Here, too, manufacturers are making progress, adapting the handling of cinematic broadcast cameras more and more to the workflow in the live sector – because speed is often essential here, requiring dynamic and easy-to-move cameras. The manufacturers are aware of this and are responding accordingly with appropriate developments.
As a result, the CineLook is becoming increasingly common in everyday productions. Even in the online streaming sector, there is more and more talk of streamers abandoning the typical “face cam” look in favour of bringing in a bit more cinema. Eventually, it’s likely that no live broadcasting will be able to do without the cinematic look and the added value of aesthetic depth, intensity, and impact.