Rob Sanders

:D

I meant Giacomo, sorry I mispelled your name. I need to practice my Italian now. Spero di sentirti presto! :lol:

Giamomo from Italy thank you for chiming in! Now we have three digital cinematographers in this thread that shoot with the Angenieux 35-70mm f2.5 / 28-70mm f2.6 zoom lenses. Most of my favorite movie directors are from Italy....Federico Fellini, Sergio Leone, Michelangelo Antonioni, Bernardo Bertolucci... and more, so many genius movie directors from Italy!! Your results have matched mine, the Angenieux 35-70 / 28-70 zoom rivals that of Canon L zooms in that zoom lens range with sharpness, detail and colour. I have shot with the Canon 24-105 f4L zoom. As I mentioned before as for HD cinematography the Angenieux has iris control, manual zoom, and manual focus are all the correct direction for cinema. Its very rare for SLR zooms to have this as most SLR zooms lens have a backwards direction and have to be modified to go in the correct cinema direction. Here is some more info and photos from "IndianaDinos" http://eos-5d-markii.blogspot.com/2011/05/ang-35-70-f25-33.html I also have the same kit: Angenieux 35-70mm f2.5, luxury wooden box (mine is red but it also came in black), velvet pouch, two lens hoods, manual...ect. Hopefully one of us will have some time to post HD digital video examples for everyone with the Angenieux 35-70mm / 28-70mm with the Sony F3, Red One, Canon 5DMKII, MKIII , 7D , C100, C300...ect. and other Canon EOS HD cameras.

If I were you I wouldnt buy the one you showed us here on Ebay. Instead talk to Ken at Whitehouse Audio Visual here in California. He has the highest quality Arri B > Cp mount. http://www.whitehouseaudiovisual.com/Mount_1.html

Great responses guys!! Dom, thats exactly why I started this topic in the cinematography forum. Professional cinematographers have used photography still lenses for cinematography for decades! Even still lenses just as rare as my Angenieux 35-70mm f2.5. That said in general every professional cinematographer will tell you that "cinema lenses are for cinema and still photo lenses are for still photography" however there are a few exceptions and there are only a "handful" of photography still lenses that are the exception and used in motion picture cinematography. Most of these still photography lenses used are either very fast (and rare) telephoto prime lenses (Nikon or Canon for example) or very exotic lenses such as fisheye lenses. An example is the Nikkor 300mm f/2.8 ED IF lens. Here is a photo of one used below with a Panavision camera and an interesting website on Nikon lenses used for cinematography for those that want to read more on still photo lenses used for cinematography. However the caveat is these still photo lenses need cine modification that usually involves adding seamless focus gear, de-clicked aperture movement and change of mount to PL mount. But back to the Angenieux 35-70mm. Digital has become a "game changer" and has allowed still photo lenses and cinema lenses to BOTH work well with digital cinematography. Like I said before cinema lenses are the best but there are a few still photo lenses that can be used for DSLR HD and the Angenieux 35-70mm or Angenieux 28-70mm are such lenses. Here are the reasons: Reasons why Angenieux 35-70mm zoom is perfect for HD (digital cinematography) Works well with Canon EOS digital (with adapter) fast f2.5 at the 35mm end true parfocal zoom clickless iris control, and the manual zoom, manual focus, and iris are all the correct direction for cinema It is very rare to have a still photography zoom lense that is both parfocal AND has zoom, focus, and iris are all the correct direction for cinema but that is exactly what the Angenieux 35-70mm offers. Now is it as sharp as a Zeiss 85mm f/1.4 ZE (Canon)or ZF (Nikon) or Zeiss ZF.2 lenses primes? No, this Angenieux 35-70mm is softer so it would not be "as sharp" as Cooke, Zeiss or Angenieux Optimo motion picture lenses for 35mm motion picture. But for HD digital cinematography this Angenieux 35-70mm f2.5 is a fine cinema lense! There are few places that will do cine-modification with still lenses such as Duclos Lenses on the USA West Coast and Century Optics. I spoke with Matt Duclos and I showed him my Angenieux 35-70mm lens who said it was just below that of the new Zeiss Planar ZE, ZF... lenses however he mentioned the color of the Angenieux glass would be beautiful! I am aware of the limitations of using of using "still photo" lenses for cinematography (digital or film) but this Angenieux zoom is a rare exception and a much better choice to todays AF zoom and prime lenses such as Canon and Nikon normally used in HD DSLR. Anand - thanks for chiming in BTW! As this this a cinematography forum let us know how it works on Nikon DSLR HD digital video I will do the same with Canon and lets post screen shots for everyone to see. We are probably the only ones with this rare Angenieux zoom so I am sure everyone is curious how these lenses hold up to todays still photo primes zoom with digital cinema! Century Optics/ Scheneider Optics https://www.schneide...y.aspx?CID=1100 Cine vs Still Photo lenses http://matthewduclos...vs-cine-lenses/ Nikon lenses used in cinematography http://www.company7....kon_0300f2.html

Anyone?? I know its not a Angenieux Optimo but it is a Angenieux! Maybe if I posted a Zeiss or Cooke I would have gotten more responses. :/

"Here is an example of a lens testing chart. I didn't make this one but it illustrates what I described in my above posting>" Very nice Gregory, thanks for sharing. I have never seen this lens test before only the ISO 12233 Lens Test Chart pdf download I shared earlier in this thread.

Anyone ever use this zoom lens for HD cinema? It doesnt have to be Canon HD (although thats what I shoot with). Any cinematographers that shoot with Nikon DSLR or any HD camera ever use this Angenieux zoom?. Here is a film/tv rental shop in the UK that rents it out if you are not familiar with this zoom: http://www.shootblue.tv/products/35-70mm-f-2.5-dslr-zoom

You can download the resolution chart in pdf here : http://www.graphics.cornell.edu/~westin/misc/res-chart.html To do basic lens sharpness and color testing. Take notes at every T-stop or F-stop, focus, focal length of the lens. Basic lens Test Equipment Needs - Two Diffused Light Sources - ISO 12233 Test Chart - Xrite Color checker - Kodak Color Separation & Grey Scale Large - Light Meter

Most cinematographers or still photographers send any lenses for testing, collimating, CLA...ect to a professional lens repair facility. Taking apart lenses is NOT their job and its something you do NOT want to do yourself. We have a enough trouble with the lighting, composition, film choice...ect! ;) And most DP's do not have there own collimator, although I am sure there are a few that do. For cine lenses on the USA West Coast this is #1 place for repair / testing of cine lenses. And here is lens sharpeness test chart. http://www.ducloslenses.com/. http://cdn-static.cn...story2large.jpg

Anyone shoot with this French made zoom the Angenieux 35-70mm f2.5 lens for HD or Canon DSLR HD video? This French zoom was designed for still photography but it has a lot of cinema characteristics. I have one of these lenses in mint condition and am considering shooting on Canon HD DSLR. Anyone shoot with this zoom lens on Canon HD like the Canon EOS C300 , Sony F3, Red Epic ect with a adapter to Canon EF or PL mount? Any one give it a cine modification? http://www.ducloslen.../pages/cine-mod Usability: Film/TV Fashion, Portrait, Macro, Landscape , Product, Commercial Pros: For portrait or still life it has the absolute perfect color palette neither too warm (Cooke lenses) or cool (Zeiss) and perfect softness not too (clinical) sharp. 58mm filter Lens shade that looks cool and works Works well with Canon EOS digital (with adapter) fast f2.5 at the 35mm end true parfocal zoom clickless iris control, and the zoom, focus, and iris are all the correct direction for cinema Cons: Price, super rare zoom. A white buffalo is easier to find than this lens. Weatherproof/Durability. Horrible. Scratches and dings very very easily because of the early plastic made design barrel (1980s) , not weather proof sealed at all. Vulnerable to shock. Very vulnerable to dust, sand, water and humidity. Basically a "studio" lens or outdoors on a perfect day (no rain/snow/sand...) Vignettes at 35mm Prone to lens flare (can be good or bad depending on your style) I have shot with the Angenieux 17-70mm and 10-150mm cine lenses on the Arri 16SB and the focus and zoom have a similar feel as with the Angenieux 35-70mm f2.5 lense.

Thanks Chris for the response. You bring up great points. I am just looking for a affordable 2K Digital cinema camera. The prices (even daily rental) for the Red One, Arri Alexas or any decent digital cinema camera are staggering to say the least. But this Bolex D16 concept seems to be a great idea for the low budget indie filmmaker. I guess only time will tell if they deliver...

Tim to be clear I am only switching to other "Arriflex" cameras. I just cant deal with the old 16mm 4:3 standard film format so its S16 or 2K digital for me. Arriflex cameras are STILL my favorite so the Arri 16SR camera (converted S16)...ect.

Hey Tim, Here is a photo of my old Arri 16SB with the rare Arri handgrip and 10-150mm Angenieux in Arri bayonet mount. I also had Cooke Kinetal primes. It was mint condition but also an obsolete film format. I was the only one still shooting with this camera. Everyone is shooting with the Red One. I moved on to other movie cameras because the Arri 16S/16SB is not S16 convertable (at least not easily). Also most the good lenses are PL mount. 2K/4K digital movie cameras are the future. Hopefully ARRI comes out with a low budget ARRI Alexa. The Arriflex 16SB will always be my favorite standard 16mm movie camera.

No response from the Bolex crowd??? Maybe I should stay with Arriflex. :/

Ok it looks like Fall of 2012 , the first production run of 100 Bolex D16 cameras. "The first 100 Digital Bolex D16 models should be ready to ship to Kickstarter investors in August, with the next run coming in around October. The camera is slated for a $3,300 price tag, which would seem near impossible for a 2K raw camera."

After reading about the new Bolex D16 for some time I am considering shooting with this camera IF it ever actually comes out :/. Its simpler to operate than the Red One, Arri Alexas...ect and cheaper. My old movie camera was the Arriflex 16/SB but the 4:3 aspect ratio is obsolete and S16 conversion with the Arri 16/SB is not practical although possible but very expensive. S16 Bolex (conversion) is an option but this new Bolex D16 looks promising. My question is: how may prototypes are actually floating out there? Has anyone shot with it yet? Opinions? Hand crank on a digital movie camera is just weird BUT if it serves a real practical purpose then who cares? Normally I would have laughed at the whole project but when I read this I think these guys are very serious. Personally I like the 2048 x 1152 (Super 16mm mode) and Standard lens format in C-mount, with option for PL, EF or B4 mounts. We will wait and see... "We're working in partnership with Bolex International, SA. The collaborators on this project are based in Los Angeles, Toronto, China, and Switzerland." "One of the unique features of the Digital Bolex D16 is its hand crank. The original Bolex H16 was spring-driven, like a clock, and you had to wind a crank on the side of the camera to put tension on the spring before shooting. The D16 incorporates the crank as a means to control camera functions (exposure, focus, frame rates, etc.), but the camera will potentially offer the ability to hand-crank the video recording itself. Since the camera records in discrete, unique frames (DNG, TIFF or JPEG). " http://www.digitalbolex.com/products/ http://www.creativeplanetnetwork.com/tags/digital-bolex-d16/what-exactly-digital-bolex-fusing-past-and-present-d16-records-2k-under-3k/59323

Thanks Tim! Indeed I am not the most mechanically inclined person - I am on the artistic side. Although I hear it's fairly simple to do by just removing the back cover and the pins "fall out" I don't want to take a chance and misalign the optics. I will have a professional lens tech do the job and remove the pins. -Rob

I have a 10-150mm T2.3 Angenieux zoom in bayonet mount that I will be using for the Arriflex 16 SRI and Arri 16SB. Although I have owned many Angenieux zooms all which performed beautifully, this is the first one I have ever owned with the dreaded "auto-iris" pins (only the Zeiss 10-100mm T2 & T3 lenses have this feature). I am not sure why they made these "auto-iris" pins in the first place since every cine technician that I have talk to tells me they barely work and it's best to disable auto iris by removing the pins. Can anyone explain why they do not work well on the Arri SR cameras? I would like to do it myself but this may be complicated (I heard it's very simple just remove the back screws and the pins "fall out") -I am not the most mechanical person in the world I admit, is it better to have cine technician remove these? Thanks!

Thanks Francisco - I took a look at your website by the way - great portfoilo! You are indeed an artist! I totally agree with you on the Angenieux 17.5-70mm about it being a nice lens because I have owned one of these lenses myself - not for the Aaton but the Arri. It's a wonderful low budget compact Super 16mm zoom by Angenieux. These zooms are light too and great for run & gun shooting styles. Here is another mysterious low budget Super 16mm zoom lens from Angenieux : the rare Angenieux 11-66mm T2.6 lens. Not a single DP or motion picture dealer I have talked to knows anything about it or has even seen it for that matter. Doesn't seem like too bad a lens especially if it covers S16 at 11mm without any vignette. The only info I have found is a brief mention in the Arri 16 SR III instuction manual under the optics chapter. It's definitely compatible with the Arri 16 SR III and covers S16. If it does exist my guess is that only a handful were made. Any DP's out there know anything about this lens? If you know about and could post a photo for everyone here that would be great! B)

I was wondering if any DP out there, pro or beginner, have used this unusual French lens for an Arri S or Arri SR and if it will fully or partially cover Super 16? I have heard it does but nobody seems know for sure and some motion picture dealers have never even heard about this lens. How is the zoom quality, speed and resolution of this lens? These other unusual Angenieux mini zooms will definitely cover Super 16: anybody use either the Angenieux 17.5-70mm T2.2 or the 16-44mm T1.3 for S16? Thanks!

What lens do you have and for which camera?