Cinegear 2017

[Satsuki Murashige]

Any favorite things you've seen this year?

 

I checked out the Atlas Lens Co. anamorphic booth and was impressed with the build quality and image of the lens. I did not get a chance to hold it and feel the weight, but had a nice chat with Forrest and Dan, the owners. Seems like this will be a nice set of lenses, especially for the price.

 

The Cooke 35-140mm front anamorphic zoom was impressive as well.

 

The Leica Thalia 65mm lenses were also impressive. The ones at the show were marked in feet, and the spacing of the focus marks were well done. I was concerned with how closely spaced the metric focus marks were, but they did a great job with these. They are remarkably lightweight and small, and produced a beautiful image.

 

Panavision was developing some interesting things with their new OLPF color separation filter for the DXL. I had an interesting discussion with one of their engineering guys about custom behind-the-lens filters/OLPFs, am very curious to see how that pans out.

 

Block Battery has a really cool 24v on-board battery system that I would like to adapt for my 35mm Moviecam camera.

 

Oppenheimer Cameras has a smart new VESA monitor mount that is centered over the stand, has a quick release dovetail, and packs up much smaller than their original monitor yoke.

 

There were maybe 5 new sets of ND filters claiming to compete favorably with Mitomo True NDs, including new ones from Schneider Optics and also Lee Filters, backed by Panavision. Very curious how they each compare to the True NDs. Schneider also had a new mild diffusion filter, called Radiant Soft that was similar to Glimmerglass, but with more widely spaced particles for less halation and some metallic blue specs to retain contrast.

 

Spoke to Dedolight about their Panibeam projector for the Cine Reflect Lighting System, and it sounds like currently there is only one unit in LA. Would love to see more of those, and also more CRLS systems available to rent on the West Coast.

 

Anybody else?

[Satsuki Murashige]

Forgot to mention the new Arri LMB 4x5. Really well designed, and something that has been long asked for by many ACs. Basically, an LMB that can be used with Zeiss Super Speeds without causing the focus ring to bind. Extremely versatile system.

 

Also, Lindsey Optics had a very impressive series of macro lens attachments that retain both the full resolution of the taking lens (for +1) and also allow for parfocal lens focus. They had it up on a 70-200mm Zeiss Compact Zoom, and you could zoom all the way through the range and hold focus.

[Adam Frisch FSF]

I put a deposit on the Atlas Orion anamorphic lens set, a 40, 65, 100mm (pretty much all you really need for 90% of shooting). Expect delivery early 2018. I was impressed with them for that price. Finally the prices of anamorphics are starting to come down. I've regretted selling my Lomo's and thought I'd buy a set of used anamoprhics again. But at this price point, I can get a completely new anamorphic set for less than a beat up old set of Lomo's. A no brainer.

 

https://atlaslensco.com

[Satsuki Murashige]

I spoke to Panavision about their new T-Series anamorphic lenses that they had on display and got some info - some are compatible with Panavision film cameras, while other focal lengths are only for non-mirror shutter digital cameras, due to protruding rear elements. They have expanded the image circle and eliminated the softness at the top and bottom of the frame when wide open. And some of them are quite small, making them ideal for handheld/steadicam/gimbal work.

 

Apparently, starting with the G-Series they have switched from a gear-based astigmatizer (the hump on the lens that eliminates mumps) to a cam-based system. Neither the G-Series nor the T-Series have servo motors built-in like the Primo V's and Artiste lenses.

 

Speaking of those new lenses, apparently the lenses need to calibrate when you use the internal focus motors. This happens automatically when you mount the lens on the DXL, the focus ring will physically turn from end to end. The operator cannot grab the lens to adjust focus manually when the internal motors are being used. Otherwise, the calibration will be off.

 

I mentioned to them that it would be great if the operator could do this, and the hand unit would respond accordingly without the motor going out of calibration. Just like with a manual follow focus.

[Adam Frisch FSF]

I did speak to the Panavision rep and he said they're developing new set of 1.25x anamorphics for the DXL. That will be interesting to see.

[Satsuki Murashige]

Oh yes. The Hawk Vantage Ones (T1) were on display on some 8K Weapons. They vignetted at 8K but at 7KHD they were ok. Wide open, they were crazy soft - I could only see using them for medium shots or MCUs at that aperture. At further distances, nothing was really in focus. The Red rep said they were good starting around T1.8.

[Phil Rhodes]

When you guys start talking about something that's ever likely to be parachuted onto the same planet as me, I'll try to add something sensible to the debate.

 

My idea of a good lens is one that at least has a 3D printed gear on it!

[Satsuki Murashige]

I've only gotten to use Panavision gear a handful of times, but I'm still interested in it. At least you get to hobnob with ASC and BSC cinematographers for those American Cinematographer articles! :)

[Satsuki Murashige]

Saw the Varicam LT in person for the first time. Haven't had a chance to work with any of the new Varicams yet. Liked the image, the 5000ISO native ISO feature was cool and I could see using it on low budget narratives and docs shooting a lot of night exteriors with minimal lighting.

 

But I was not a fan of the menu system at all. Both the look and feel of them. Very much feels like a step backward into ENG land from Sony/Canon/Red/Arri. I didn't like the new viewfinder very much either, the image felt small and far away, if that makes sense. Would prefer to use my trusty Cineroid, scratches, burns, and all, over it.

[Robin R Probyn]

Satsuki.. Ive used the LT.. in the night with guys with fire torches.. at 50 fps.. !! it is quite amazing at 5000 ISO.. anything really low light it would be a great pick.. it was last year.. and maybe recent firmware has improved.. but the big problem was about 20 sec start up time.. and endless re boots for just about anything .. and a bit of a battery eater..

Menus on Japanese cameras have always seemed illogical and over complicated.. the LT is a total nightmare.. having lived in Japan I honestly think its down to a "different" logic.. and frankly always making anything or situation overly complicated ..even how and where to park a car is usually a 10 minute meeting with all permutations discuss in great detail..simple seems to mean you haven't been trying your hardest.. so you get these massive complicated menus,.. where a view finder setting will be under a lens type setting .. I think that was one of the many odd in the LT quirks..

[Frank Hegyi]

I saw a couple little things that caught my eye. Quasar Science had color accurate daylight and tungsten LED practicals. They claimed they won't flicker on normal AC dimmers.

 

Really Right Stuff had a tripod head with some kind of magical spring in it that kept the head completely still at any point in the tilt range.

 

The black magic resolve mini/micro color panels are really nice. They felt great in person.