In an Oct. 23 first-person feature, cinematographer Caleb Deschanel, ASC describes his first stop-motion production on LAIKA's Wildwood. He tested depth of field with real subjects before adapting the look to miniatures, moved lighting farther from small sets to suggest natural sources, and used Canon still cameras with motion-control rigs for frame-by-frame photography. The article is a production-technique account, not a new camera or lens launch.
GLOBAL IMAGING BRIEF
Analysis: Miniature scale changes the relationship among aperture, depth of field, lamp distance and perceived light direction. Deschanel's account offers a useful workflow reference for teams combining physical sets, repeatable camera moves and later compositing; it does not establish a universal exposure or equipment prescription.
Original source
Original source: Caleb Deschanel's Oct. 23 first-person feature in British Cinematographer. This brief independently summarizes selected technical points.