Gregory Irwin

Ha! I just bought it! G

Thanks for the info as well Miguel. I've never used the mini Hawks and would love to test them sometime. As for the rest of the Hawk lenses, the excessive flaring and the inability to handle any amount of sourcey backlight (such as a bright window in the bg) drives me crazy. They are also just too big and heavy. G

Thanks Manu! Great information. My wife and I have gotten hooked on the series during this COVID-19 hostage crisis. I actually guessed that they were Hawk lenses. They sport all of the hallmark characteristics such as an overall softness, veiling and flaring. I personally am not a fan. If the DP wanted imperfect optics, he got them! But the show is awesome and overall looks terrific. I feel for the focus pullers since they were tasked with an almost impossible job of keeping these T1 lenses in focus. They did a very good job considering their compromised position with these lenses. Cheers to them! G

Anyone have any info on what lenses they used? G

This morning I received the horrible news that another icon in cinematography has passed away. Denny Clairmont fell yesterday in his kitchen at home and never recovered. He was in his 70s. Denny, along with his brother Terry, owned and operated Clairmont Camera which supplied numerous Hollywood productions and camera departments for over three decades. They were a powerhouse in the industry. I personally had prepped cameras for movies at Clairmont Camera dating back to 1980 till they sold their inventory to Keslow Camera just a few years ago. Denny as well celebrated as he was, had just started to enjoy his retirement. We will all miss his graciousness, his knowledge and mostly, his friendship. G

I hate to point it out but the “ no flares” frame is full of flares. All anamorphic lenses flare (some flares are attractive and others not so much) with the exception of the Zeiss Master Anamorphics. They are optically pure and are difficult to flare. G

I’m not being sarcastic and I know everyone else will answer your question the way you meant it. But my answer is going to be Quickbooks. It’s as important as any other tool for the trade to run yourself as a freelance AC. G

I couldn’t agree more. I have only one email account and I’m not on Twitter! In fact, I’m not on any social media. I refuse! I have only one phone number. Like I said in an earlier, separate post on this site, I keep it stupid simple! G

There’s a motto within my camera team that we believe in and is stated several times a day: “Keep it stupid simple!“ I believe that applies here. G

Please don’t sugar coat it Dom! Tell us what you really think! 😂 G

It’s not! The film plane/sensor is the right position for focus collimation. The whole concept of the entrance pupil is more related to the calculation of F-stops and exposure. It’s an actual virtual image magnified when viewed through the front element of the lens. This is as opposed to the diminished size of the aperture when viewing through the rear element of the lens, known as the exit pupil. There’s a lot more to this and this can be researched from here on so you can go as deep into it as you desire. I’m sure it’s a bit confusing. G

I respect Jay’s article but I do believe he’s a bit misleading with it. With regards to the entrance pupil of a lens, technically he is correct. Where he goes astray is in two places. Firstly, it is absolutely impractical to measure focus from the entrance pupil of different lens designs since lenses are commonly collimated to the film plane/sensor. This especially come into play where different camera manufacturers have different flange depth measurements to the film plane. We need a consistent standard here and not a moving target to complicate further a complicated practice. Secondly, where Depth of Field is referenced, he should be talking about Depth of FOCUS. There is a big difference between the two. Depth of Field refers to the range of focus IN FRONT of the lens where Depth of Focus measures the tolerance of focus BEHIND the lens. When you look at the rear element assembly from the lens’ flange to the tip of the rear element glass, the noticeable difference is how a wide lens’ rear element is a narrow torpedo shape that extends much further away from the lens flange. Longer lenses sport a rear element that is a much wider in diameter rear glass element and is much stubbier in length. The wide lens rear element measures much closer to the film plane/sensor than the longer lens’ equivalent thus making the wide lens’ Depth of Focus much more critical for the lens’ ability to achieve proper focus. Long lenses have much more forgiving Depth of Focus while having much less forgiving Depth of Field. The two physical properties are polar opposite of each other. If the Depth of Focus is off, the lens will simply not focus anywhere within the lens’ focus range. G

Of course!!! Mitchells do come in strengths of A-E. I should have known since I own two sets! Mitchell Diffusion A is the lightest diffusion in the set. G

Mitchell Diffusion? Don’t know what the A would stand for. G

Farewell maestro. You are a true gentleman. G