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  1. I just purchased a brand new Sony A7s (body only). There were not much lenses out there for the sony A7s, so i looked around on the internet and found a great deal for a Samyang Cine Lens Kit. The only problem is that the lenses are Nikon F Mount. What's the best lens adaptor for Sony to Nikon F Mount? Preferably, i don't want any vignette, also minimal reflection. Auto focus is not a big issue because most of my work will be film based anyway. Thank You for Reading
  2. 18,25,35,50&100mm Contact : sales@broadcastsolutions.com
  3. 14,18,25,32,40,50,75,100&135mm (135 is S4i) $154,000.00 USD
  4. 14,18,25,32,40,50,75,100&135mm (135 is S4i) $154,000.00 USD
  5. For sale - single owner/operator Canon 30-105 T2.8 Cine Zoom with Duclos Multi Mount (EF/PL). A fantastic work horse of a lens that we've gotten great use out of on the Epic, Amira, and C300. Both elements in pristine condition, well cared for lens. Has lived in custom Inner Cases Flight Case since purchase from Duclos in December of 2013. $19,000 includes: - Canon 30-105 T 2.8 Cine Zoom with MultiMount - Inner Cases Flight Case - 15mm Rods - Element Technica lens support (15mm) Will gladly drop by Abel Cine or Duclos to allow for inspection. Duclos preferred. Don't hesitate to contact with questions. cameron@camerontrejofilms.com Cheers.
  6. I found a super cheap switar lens on eBay. It's a 16mm lens. Below is a link. My question is.... Would this be relatively a "normal" lens for a bolex? I would rather get a ten mm, but don't want to pay 200.00+ for one. http://www.ebay.com/itm/Kern-Paillard-Switar-AR-f1-8-16mm-C-Mount-Camera-Lens-No-Reserve-/371264300473?pt=LH_DefaultDomain_2&hash=item567113a5b9
  7. Hello, basically looking for what the title says. I have an arriflex 35mm IIB, and the cameras mount is a Arriflex standard mount. Having some trouble looking for a place to rent or buy low cost lens. I've searched eBay but it's proving to be few and far in between. Thanks!
  8. Up for sale are (2) Nikkor 200mm T2 lenses at a great price. Both are in excellent condition, converted to universal mount with PL. Normal signs of use, some light cosmetic marks, light dust and cleaning marks but very minor. One is a Century PL conversion and the other is Focus Optics conversion. This is an amazingly sharp lens, one of Nikon's finest. I'm only selling to free up cash for other purchases. $2599 each OBO Please email or PM with questions. Both come with fitted lens gear, hard cases, and accept 40.5mm rear filters. The Focus Optics conversion has a spud to add your lens support and a detachable hood. The Century comes with a built in extendable lens hood, optical flat front installed, a 19mm/15mm support bracket, and was recently serviced with new helical grease. Discount if you buy both! Paypal (buyer pays fees) or bank transfer, thanks! I will pay ground shipping in ConUS Email me at dawson@3bearmedia.com for pictures or questions! Thanks
  9. Edit: Sorry about the repost, the title got mixed up and I don't know how to delete posts. wonderful first impression : ) Edit 2: Ah, duck. The title is still 10-20.000 . It should have been 10-20.000€ vintage PL set for feature film. FIRSTLY Sorry about the title, I am horrible at this. FOREWORD Hello. This is my first posting in this forum and I don’t think it will be my last : ). I’m still young and there are lots of things that I don’t know about cinematography. So if I’m wrong somewhere, please correct me and feel free to tell me your thoughts. I have studied cinematography autodidactively, read the ASC Mag, Painting with Light, Film Lighting and books like that for quite some time now and have a handful of questions as I am currently approaching my first feature film. I can’t really say a lot about it at this moment but it will all come in the future. THE PROJECT The film takes place in the late 60s and the sets will be old european buildings and modernist 50s & 60s architecture (Wright, Rose, Bauhaus, …) My moods are 2001: A Space Odyssey, Dr.Strangelove, Lola Montes, Touch of Evil, Brazil, North by Northwest, Yojimbo and Grand Budapest Hotel. I know it’s a bit colourful and partly entirely different but these are some the films that will inspire the look of this project. I would love to use film, which there is not enough budget and my first digital choice would be an Alexa. Now, there might not be enough budget for that as well and Even though I never wanted to do that, I’m thinking about/kind of pre-decided on a red dragon camera. I am not looking for a digital look, which sounds funny, but you know what I mean. I also won’t shoot 16mm because I want as much lens coverage as I can get. And I don’t want all that film hassle on my first feature, where I’ll have enough hassles already. The plan is too use the entire sensor (only possible in 6K) and tuning it down to 4K DPX Seqs. (Also handy for stabilizing shots). If I’m using vintage lenses and a 1/8 pro mist filter or something like that I’ll be fine. My first idea was to use 1.33x anamorphic lenses and I would really like to do that to get even more space. I didn’t find any 1.33x anam lens wider than 25mm, which is a 19 on FF (stretched to final image). And I want something a bit wider. More like a 14mm or 16mm FF equivalent. I thought about using the Letus Anamorphx Adapter. I don’t know how good it is, or what it can and can’t handle as there are few reviews out there. I would really like to test it though, but there are none in Austria, where I live. I am buying looking into buying lenses for the project and there will be 10-20k euros for that. Why not rent? because you can’t rent any vintage PL glass in Austria and I also really want that glass : ) . I also thought that maybe the set and dressing alone will have enough vintage flair and I could use newer lenses, like the CP.2s. THE DREAM I’m looking for something like this. 14mm - 21mm - 28mm - 35mm - 50mm - 80mm SOME LENS SET OPTIONS _ 2-3 anamorphic lenses + something like a 14mm Arri/Zeiss PL with an anamorphx (or not) I am afraid though, that the 14mm shots would look very different than the anam shots. The Anamorphx Adapter could fix some of that, but who knows. I also thought about the Tokina 11-16 cine rehousing but I’m even more worried about fixing up that look opposed to a 14mm Zeiss. _ An old PL Set + Anam Adapter _ CP.2s + Anam Adapter Maybe the 1/8 Filter + the Anam Adapter could deliver our vintage look? _ An old PL set and shooting 16:9 ACTUAL QUESTIONS I would love to hear your thoughts on it and if you have any other ideas or know any other anamorphic adapter aside the LV7200 and the anamorphx. What other filter I could use for achieving a “vintage look”. Another approach to this entire thing. P.S. Sorry if the post is too long : )
  10. FIRSTLY Sorry about the title, I am horrible at this. FOREWORD Hello. This is my first posting in this forum and I don’t think it will be my last : ). I’m still young and there are lots of things that I don’t know about cinematography. So if I’m wrong somewhere, please correct me and feel free to tell me your thoughts. I have studied cinematography autodidactively, read the ASC Mag, Painting with Light, Film Lighting and books like that for quite some time now and have a handful of questions as I am currently approaching my first feature film. I can’t really say a lot about it at this moment but it will all come in the future. THE PROJECT The film takes place in the late 60s and the sets will be old european buildings and modernist 50s & 60s architecture (Wright, Rose, Bauhaus, …) My moods are 2001: A Space Odyssey, Dr.Strangelove, Lola Montes, Touch of Evil, Brazil, North by Northwest, Yojimbo and Grand Budapest Hotel. I know it’s a bit colourful and partly entirely different but these are some the films that will inspire the look of this project. I would love to use film, which there is not enough budget and my first digital choice would be an Alexa. Now, there might not be enough budget for that as well and Even though I never wanted to do that, I’m thinking about/kind of pre-decided on a red dragon camera. I am not looking for a digital look, which sounds funny, but you know what I mean. I also won’t shoot 16mm because I want as much lens coverage as I can get. And I don’t want all that film hassle on my first feature, where I’ll have enough hassles already. The plan is too use the entire sensor (only possible in 6K) and tuning it down to 4K DPX Seqs. (Also handy for stabilizing shots). If I’m using vintage lenses and a 1/8 pro mist filter or something like that I’ll be fine. My first idea was to use 1.33x anamorphic lenses and I would really like to do that to get even more space. I didn’t find any 1.33x anam lens wider than 25mm, which is a 19 on FF (stretched to final image). And I want something a bit wider. More like a 14mm or 16mm FF equivalent. I thought about using the Letus Anamorphx Adapter. I don’t know how good it is, or what it can and can’t handle as there are few reviews out there. I would really like to test it though, but there are none in Austria, where I live. I am buying looking into buying lenses for the project and there will be 10-20k euros for that. Why not rent? because you can’t rent any vintage PL glass in Austria and I also really want that glass : ) . I also thought that maybe the set and dressing alone will have enough vintage flair and I could use newer lenses, like the CP.2s. THE DREAM I’m looking for something like this. 14mm - 21mm - 28mm - 35mm - 50mm - 80mm SOME LENS SET OPTIONS _ 2-3 anamorphic lenses + something like a 14mm Arri/Zeiss PL with an anamorphx (or not) I am afraid though, that the 14mm shots would look very different than the anam shots. The Anamorphx Adapter could fix some of that, but who knows. I also thought about the Tokina 11-16 cine rehousing but I’m even more worried about fixing up that look opposed to a 14mm Zeiss. _ An old PL Set + Anam Adapter _ CP.2s + Anam Adapter Maybe the 1/8 Filter + the Anam Adapter could deliver our vintage look? _ An old PL set and shooting 16:9 ACTUAL QUESTIONS I would love to hear your thoughts on it and if you have any other ideas or know any other anamorphic adapter aside the LV7200 and the anamorphx. What other filter I could use for achieving a “vintage look”. Another approach to this entire thing. P.S. Sorry if the post is too long : )
  11. I have a filmmaker friend who recently gave me his old Bolex H16 Reflex absolutely free over the holiday season. He has since graduated to a high-end digital setup, but said that the H16 Reflex properly cared for will give many years of service and can deliver great results for low-budget filmmakers. I'm a student, so low-budget pretty accurately describes my operation. However I'd be willing to invest in a lens that would suit my needs. I do stop-motion animation (seeking a BFA in Animation), and would like to use film for my project. The Bolex came with a pistol grip, a supplemental film magazine, cable release and a Vario Switar 18-86mm f. 25 OE lens. I'm wondering: what kind of lenses / accessories would I need to make the H16 Reflex suitable for stop motion animation? The lens I'm currently looking at is a Kern Switar 10mm f 1.6. Apologies for lack of knowledge, as I am an amateur. Thanks!
  12. Pretty much as the topic states. I've never used the FF5 with the CN-Es but I need to know if it can clear them. I appreciate any help I can get. Thanks!
  13. Hi! I just got a used Super16 lens to compliment my super speeds. It's a Panther Cinar Super Super16 8mm T1.3. It looks just like a super speed mkIII and has a really solid and nice feel to it. Since Panther is still an active company I email'd them to see if they could tell me more about the lens. The person who answered had never even heard that they had made lenses… But he found some old documents about a couple of zooms and 7mm + 35mm primes. Would be nice if anyone had some knowledge about this lens, thank you!
  14. So I'm pretty new to 16mm stuff, I've gradually been making the switch from digital. It's been pretty fun. Right now I'm using a Bolex as my A-Cam and two old Keystones as my crash cams. Yeah, I'm working on filling the gap between those two, but that's not the point. One thing that I've given up since making the switch was my anamorphic lenses. I love them to pieces, they're just awesome. However, I've had trouble finding a conclusive solution for a c mount anamorphic lens. It's kind of frustrating, and I was wondering what my options realistically are. I've heard several different ideas on this forum, one of which is using projector lenses. I've never really had to do that, so would that be a good option? I don't know that I've encountered much projection glass well-suited for shooting, but maybe I just haven't seen enough. I would really like to stay away from anamorphic adapters. I guess if that's the best option then I can use them, but I've always stuck to the real thing. Last thing, cost is a big factor here. I'm a big fan of quality glass, but I don't use these cameras enough to drop a lot of money on one lens. So if that means I should just get a lens adapter and use some cheap anamorphic glass for a different mount, I can do that. I just want to know what my options are for an adapter-less setup, if that's even possible. Thanks much!
  15. I just watched this video and tought about the story on Kubrick and the candlelit scenes on "Barry Lyndon". What would he be doing with today's cameras and lenses? Of course cinematographers aren't using f0.7 lenses on day to day basis but, for example, Master Primes and Cooke 5 are pretty bright and camera ISO technology are advancing everyday. With a camera capable of a base ISO 5000 and a Master Prime on T1.3 candlelit scenes would be just the start on the cinematography crative process. What do you think?
  16. Im selling a set of 3 ARRI Master Primes. The 18mm T1.3, 32mm T1.3, and 65mm T1.3 are in excellent condition. Never rented. Available for inspection. Location: North Texas, 45 min north of Dallas. Im asking $55,000. The lenses come in a durable Innerspace lens case. Also willing to sell lenses individually. The best way to reach me is by email at: elliotovla@yahoo.com We purchased the master primes in late 2012, so we have had them almost two years. They have not been in for any service. One of the lens caps has a chip in it. Not sure how that even happened, but I included a photo of the plastic cap with its damage. Nothing major. The lens case has some wear, but a small wipe down will get it looking in great condition. I have included photos below.
  17. The majority of the work I do is documentary and sports features and it seems that an Amira is inevitable in the near future. With NFL Films making the switch to the Arri Amira as their primary camera I am curious as to what lenses they are using with the body. 2/3" ENG lenses? Cinema Zooms? Any information would be great.
  18. We have a beautiful Fujinon 19-90 cabrio lens for sale $26,990 email me for pictures carson.lori61@gmail.com
  19. Just finished a film and selling (3) Super 16 lenses. All of them were overhauled by Abelcine and the gears renewed with teflon a month ago by VP. The are all super clean, project sharp and clear. Only a few cleaning marks on them due to age. The 50mm Illumina is super sharp. If you buy a random lens on Ebay, you will most likely have to pay $$ to get it up to speed. That work has already been done to these. Zeiss 16mm MKIII s/n 7500048 Zeiss 25mm MKIII s/n 7500143 Optar Illumina 50mm s/n 9725013 Send me a PM, sensible offers welcome. Selling individual or as a set. I have receipts, more pics, and details. Thanks, Martin
  20. Hello guys, I'm music video clipmaker (beginner). I like k-pop MVs. I want to shoot my MVs like that. I've got Red One MX camera and Zeiss 35mm CP2 superspeed t1.5 lens only. Which lens (mm) do you recomment to buy? (sorry, I don't know english very well)
  21. Selling my Zeiss CP.2 50mm T/2.1 Nikon F Mount lens. It's in excellent, like new condition. It's a great lens, but I don't use it much anymore because I no longer do freelance work. Looking for $3300 for it (negotiable). And don't get discouraged if you're looking for an EF or PL mount - the beauty with these lenses is that you can change mounts very easily. I can email photos.
  22. Looking to sell my Red 17-50mm lens. Bought it about a year ago from a fellow Red User. I don't freelance anymore and don't really use the lens anymore as well. Looking for $5,500 (negotiable). Let me know if you want to see pictures - I can email them. The lens is in great condition.
  23. Hi everyone, I was hoping to see if anyone knew how to achieve these distorting effects found in these music videos. The first is in the music video for Lana Del Rey's Blue Jeans track. It's used on and off notably at the 1:30 mark. The 2nd is this music video for Feist's Anti - Pioneer. It's more like a ghosting/doubling effect seen at the 40 second mark. These effects must be through some kind of filtration, in the case with the Feist video, allowing light to leak behind the diffusion filter to get reflections? With the Lana Del Rey video I'm not so sure. Physically holding warped glass in front of the lens? If anyone has attempted this before I'd love to get some pointers. Thanks! Chris
  24. Looking for a nice 24mm to complete my set, thank you. JF
  25. I would like to hear your thoughts on what sort of lens is best for photographing something with little to no depth. I'm not considering a multiplane set-up but would be pleased to also hear thoughts on that.
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