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  1. Hi everyone, Would just like to get information about the UniQoptics Prime kit, Has anyone used them? If so please can you tell me how they perform compared to Zeiss CP.2 primes? I can't find enough information or reviews online about them. Thanks.
  2. Hi All, Hope you are well, i needed some advice and after loads of research on the internet someone recommended for me to come on here as i cant seem to find any solid answers. I am looking to set up a new photography and cinematography company in the next few months, and was hoping you guys can help me with the following: What cameras and lenses do i need to invest in? I will be sending out 3 videographers/cinematographers and 1 photographer to each event (mostly weddings). Also i would like to keep costs down but appreciate that i may need to pay that extra bit for quality. Are there any training courses you guys can recommend that i can send the team on where they can learn everything they need to learn about using the cameras, lenses and how to capture certain shots/clips. Finally i am looking to outsource the editing side of things initially, how much on average should i be looking to pay a freelancer video editor for a days worth of footage, so if i was to provide raw footage from a one day event and expected back a trailer and 1 hour edited film? Any information you can provide will be greatly appreciated. Thanks in advance!
  3. 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 : )
  4. Hello, I am a set designer working in the film industry and using 3d models to show directors, production designers and cinematographers what they would see by a particular lens. I know there are MANY lens packages, but can someone give me an idea what lenses are the most "popular"? I am referring to the wide angle lenses. I know this is a difficult question, but what wide angle lenses are likely to be used -- and at what point do they begin to distort so much that they are rarely used. For example, Stanley Kubrick uses wide angle lenses a lot in his films. How wide would he go? Thank you. Cosmas
  5. RED Pro Primes 5 Lens Set (25, 35, 50, 85, 100mm) Imperial.Excellent Condition. Kept in air-conditioned private home. Owned by Cinematographer and well taken care of. Footage shot with these lenses provided upon request. We love them but have to invest elsewhere. Great deal. Location: Los AngelesPrice for package $14,500 OBO Case included email: info@colinakoon.com
  6. BYDGOSZCZ, POLAND (November 13, 2014) - Panavision, the company behind the world's best cinema lenses for 60 years, is showcasing their new line of Primo 70 lenses optimized to work with today's larger sensor digital cameras. The lenses are being exhibited here at the 22nd edition of the Camerimage International Film Festival, a premier event for directors of photography. "Panavision Primo lenses have set the standard for excellence in motion picture production for 25 years," says Kim Snyder, Panavision's president and CEO. "Now, filmmakers can combine that essential Primo character with the larger sensors found in the latest digital cameras." Panavision Primo 70s are the most advanced cinema lenses ever developed, and specifically designed to work with today's larger sensors. The result is more consistency from edge to edge and sharper corners. The organic flavor, pleasing bokeh, and gradual focus roll-off that DPs depend on have been carefully maintained in the Primo 70 series. Large format sensors are the natural next step for filmmakers looking to create powerful, affecting imagery, and Primo 70 lenses maximize their aesthetic potential. Together, large sensors and Primo 70 lenses deliver unprecedented visual impact. Panavision Primo 70 prime lenses are available in eleven focal lengths: 27mm, 35mm, 40mm, 50mm, 65mm, 80mm, 100mm, 125mm, 150mm, 200mm and 250mm. Super 70 zoom lenses are also available in three sizes: 28-80mm, 70-185mm and 200-400mm. The Primo 70 series are equivalent in size and weight to standard Primos, a feature driven by the need for portability and maneuverability on today's film sets. Primo 70 lenses have already been tested in the field under real-world production scenarios, including two feature films and several commercials. "The 70mm Primos are beautiful - just amazing," says Peter Menzies Jr., ACS about his experience using them on a feature film. "I have never seen lenses that hold their sharpness and contrast across the entire frame. ... They are also light, fast and the lens sizes in the kit are perfect. The two zooms we used are excellent -- incredibly close to the primes." "The Panavision 70mm lenses have a grand look," notes Greig Fraser, ASC, ACS who relied on the Primo 70s for a commercial shoot. "Their visual language is significantly different than 35mm. The focus falls off quickly and beautifully. As a cinematographer, this allows me to tell a different story. ... For decades, Panavision has given filmmakers exciting new tools that can open up our imagination. These lenses promise really outstanding new possibilities." Panavision's Dan Sasaki, VP of Optical Engineering, adds, "The cinematographers who have used these lenses reported that they were very happy that we didn't create something that is synthetic or too scientifically sharp. Cinematographers tell us that the character of the lens is even more important with digital cinematography. We maintained the artistry, and preserved the dimensionality that was originally designed for the Primos back in the 1990s. The Primo 70 lenses definitely share the Primo family resemblance." Panavision Primo 70 lenses are the product of state-of-the-art design and manufacturing techniques and materials, and they incorporate feedback from industry pros. Primo 70 lenses are not compatible with film cameras, as they are specifically designed to work with digital cameras. The internal mechanics retain a familiar Primo feel. Floating internal elements control breathing and allow the lens to maintain extremely high performance from infinity to close focus. Currently, Panavision has made Primo 70 mounts for the Sony F55, RED DRAGON, ARRI Alexa (standard and Open Gate), Phantom Flex4K and Phantom 65, with other cameras being assessed for compatibility. "Panavision's unparalleled experience in optical design and lens construction, and our deep and longstanding relationships with filmmakers, have all been brought to bear on these superlative lenses," adds Snyder. "Filmmakers have expressed a need for lenses that work with larger sensors in an array of cameras. We're focused on providing the tools cinematographers need to tell their stories and express their creativity." The Primo 70 series of lenses are available to rent from Panavision worldwide.
  7. I just finished watching Manhattan again. Once again floored by Gordon Willis' photography, does anyone know what lenses he used for the exterior shots with only ambient light? There are quit a few...not just the famous one by the bridge. Even better would be any articles I might be able to get my hands on. Thanks!
  8. I'm sure some of you are aware of this very interesting article: http://www.studiodaily.com/2014/01/dp-andrew-shulkind-on-demoing-kubricks-f0-7-lens-kit/ And here is the link to the Kubrick Collection: http://www.kubrickcollection.com/camera-package.html
  9. Attached are several photos of my ARRI SR3 16MM Camera Package. These items are for sale as a package OR my be sold separately. See pricing included, OBO. Please contact me with any questions. Thanks, Roland
  10. Hello. Would like to get some feedback on good/affordable gears for 16mm film lenses, mostly for BMPCC. I own a BMPCC , Schneider and Kern Primes. Looking for : => A good CAGE I own this: http://www.ebay.co.uk/itm/BMPC-Cage-Top-Handle-Grip-15mm-BMPCC-for-Blackmagic-Pocket-Camera-support-system-/261534271701?pt=UK_Photography_Movie_Camera_Accessories&hash=item3ce4a848d5 , which scratches the body a bit when in and out, too heavy and annoying to do Steadicam work. Thinking to get the Varavon (http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=261398476332&fromMakeTrack=true&ssPageName=VIP:watchlink:top:en) as Tilta is quite pricey although people say it's great, I never tried. THe good on the Varavon seem is that it looks light as per designs, but sill the Clamp is too high so in the Steadicam is hard to balance, so I might use one in my shoulder rigs that might be 2/3 of the height. I'm looking for a good one that is practical and fits well, if any other suggestion please let me know. => Good adaptable RINGS for follow focus. Still couldn't find small than 50-60mm (like this 60mm: http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=281387086694&fromMakeTrack=true&ssPageName=VIP:watchlink:top:en) as the barrel of the kerns are ridiculously small (25mm wide). And I'm not sure if the 60mm would fit a Schneider barrel of 45mm for example. Any experience/Ideas of rings? Any other tips around BMPCC gear and accessories, just put in here. Thanks guys.
  11. I have a set of Red Pro Primes that I have been renting out with my Red Dragon I am considering replacing- but I wanted to get the opinion of more experienced DP's - I am considering selling my RPP's for a good zoom lens. I get the feeling that people renting a Red would rather rent other lenses than RPPs. Here are some lenses I was considering buying in place of the RPP's Cooke 18-100 T3 Cooke 20-100 T3.1 Cooke 20-60 T3.1 Cooke S4i 15-40mm T2 or a set of 5 Zeiss Standard speeds T2.1 Which would you all prefer for your shoots, or would it be best just sell the lenses and rent the camera Body and accessories only. If you have other suggestions for great zooms or primes, I would love those! I would love to hear your thoughts! and insights! Thank you so much!
  12. Friends, I am shooting a drama with half of film inside a house and half on road. I am using Sony F65 with ultraprime lenses. I was toying with the idea of shooting the outdoor portion of the film which consists of Landspcapes (road journey) & in car with Anamorphic lenses. What should I keep in mind when am doing car interiors(Dialogues) with anamorphic. We will be shooting some scenes taking the car on low loader and some on a Green Screen. As regards with Green Screen panoramic background plates, am still wondering if it should be shot anamrophic or I will be good with Canon 5D Mark2 cameras rigged on a car as done in 24. Any insight, experience would be really helpful. Cheers!
  13. First off, I want to say thank you to all the people who contribute to this forum - I’ve been lurking around for quite some time without posting much. You know the old adage... “If you don't have anything nice to say, don't say anything at all”... Well, by nice I mean something that could further the discussions - but quite often I find the answers before needing to ask! Anyway, I just got myself a s16mm Arriflex SR2 (PL mount), and I'm looking into prime lens options. I have a collection of 35mm and above format primes, but none suitable for this smaller gauge (they can obviously cover it but finding a good wide/normal lens out of my collection is a stretch). I’ve read in various places that some 16mm format lenses aren't compatible - they cover it but don’t physically fit with the Arri SRII or SR1. My question; what prime lenses which cover and/or are designed for super16 are compatible with my SR2 in the wide to normal focal lengths. I'm not looking for the newest and greatest optics available, but instead some quality vintage glass with character. Old lenses from the likes of Cooke, Schneider, Zeiss, Meyer, and probably any old German or Russian knockoff's interest me. Any help or direction would be greatly appreciated.
  14. Hello all, This is my first post. I am a photojournalist by trade, but I recently picked up a Revere Model 99 Standard 8mm Ciné Camera for a good price at a Flea Market. I was wondering a few things. What are some good sources for Standard 8mm film? Also, it came with two telephoto lenses... both had focuse rings that seem stuck. Is this a matter of dissasembly, or am I missing a trick to get them moving? The aperture rings work great... Thanks for any advice or information. I'm not sure if there's a digitized users guide, but it would be most helpful in learning its operation. If I can get it running, I'd like to take it along on an assignment to India this summer... when I have some down time, a film about the Nihang Sikh warriors would be fun to shoot in this old format. :) Thanks again everyone! www.brundinphotography.com
  15. Event on April 24 will Feature Video and Audio Production Equipment for Purchase or Lease BURBANK, CA - Bexel's Technical Sales & Solutions (TSS) division will host an Open House this Thursday, April 24, from 2-8 p.m., showcasing its Gold Line of pristine, one-time use broadcast video and audio equipment. Much of the gear, which will be on display in a new showroom at Bexel's Burbank headquarters (2701 North Ontario Street, Burbank, CA 91504), was recently used to cover worldwide sporting events in Sochi, Russia. Available for purchase or lease, Bexel's Gold Line includes a plethora of equipment from camera systems, lenses, accessories and support, to video and audio converters, audio monitoring, speakers, wireless intercom, solid state recorders, microphones, P2 camcorders, and more. Leading product specialists from Bexel, AJA, Lectrosonics, Panasonic, JVC, TSL, Shure, LAWO, Livestream, and more will also be on hand at the Open House to answer questions. The Gold Line of equipment comes with a Bexel Gold 30-day service warranty, plus the remaining manufacturer's warranty.* Each piece of gear has been expertly inspected by Bexel engineers and certified to meet the company's rigorous standards, ensuring every detail of the components has been tested and is in mint, like-new condition. The company will also provide complimentary technical consultation and support or training to the new owners of all Gold Line products. Bexel TSS offers the latest new and pre-owned professional products with top-of-the-line manufacturers, such as Panasonic, Clear-Com, Fujinon, Canon, Litepanels, Sony, Evertz, and many more. The division represents over 200 product lines. Bexel TSS also offers its own line of intercom and audio products made in house under the Bexel ASG brand. To RSVP for the event, which will also include a raffle and refreshments, call 818-565-4300 or email JoyceBente@bexel.com. For more information, visit Bexel TSS at http://www.bexel.com/bexel-tss/. (* Warranties may differ, depending on when equipment was purchased by Bexel.) About Bexel TSS Bexel Technical Sales & Solutions (TSS), a business segment of Bexel Broadcast Services, a Vitec Group Brand, has offered the latest new and pre-owned professional broadcast video and audio products since 1991. Over the years, Bexel TSS has expanded to include exclusive dealerships with top-of-the-line manufacturers, such as Panasonic, Lectrosonics, Clear-Com, Fujinon, Sony, AJA, Evertz, Livestream, and many more. As part of the Vitec Group of companies, Bexel has access to a wide range of industry standard product lines including Anton/Bauer, Vinten, Litepanels, Sachtler and Petrol Bags. Bexel TSS also offers its own line of intercom and audio products made in house under the Bexel ASG brand. Bexel's specialists offer product training and support before and after the sale, as well as in-house equipment maintenance and repair. In an effort to supply the broadcast industry with unequaled service and product solutions at exceptional prices, Bexel TSS represents over 200 product lines. For more information about Bexel, visit www.bexel.com, or follow them on Facebook, Twitter and Instagram. About the Vitec Group Capture the moment™ For over 100 years, through every innovation in photography, film and digital image-making, Vitec businesses have developed a powerful portfolio of brand and products that have enabled some of the most amazing moments to be captured under some of the most challenging conditions. Vitec is an international Group principally serving customers in the broadcast photographic and military aerospace and government (MAG) markets. Vitec is based on strong, well-known premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Videocom, Imaging and Services. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Imaging designs, manufactures and distributes equipment and accessories for photography, video and events. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production and film crews. More information can be found at www.vitecgroup.com.
  16. Hello all, Long time reader, first-time poster. I'm gearing up to shoot a student short during the first two weeks of June and we have been looking high and low for a set of anamorphic lenses to shoot with. I was wondering if anyone here has any leads on anamorphic lens owners in the New York City area? I am already aware of the various rental houses that have lenses, but we're also trying to reach out to some private owners/DP's who might have anamorphic sets and would be willing to rent them out. Looking for something a little more vintage, along the lines of: Lomos, Kowas, Cooke Xtal, or anything of the sort. Appreciate any and all recommendations! Thanks.
  17. I'd love to know your opinions on which is your best 35mm camera. If you want to mention what lenses you prefer working with these particular cameras that's cool too. Cheers Matt
  18. Selling RED PRO Prime 18mm t/1.8 lens (NEW - never used) - Imperial Bought this lens and ended up never using it. Paid 4750 new. Asking $4300 firm http://www.flickr.com/photos/101151333@N04/sets/72157639661854626/ Selling RED PRO Zoom 18-85mm t/2.9 lens (Good working condition - Glass is great condition.) - Imperial Lens is in good working order with excellent glass. New $9975 Asking $6800 obo http://www.flickr.com/photos/101151333@N04/sets/72157639661819296/ Local pick up in Los Angeles or buyer pays shipping and insurance. Please email inquiries to my assistant Deb at bigdreamsdeb@gmail.com Thanks! Scott Snare
  19. Hello I've been making Super-8 and 16mm and 35mm short films most of my life as a filmmaker and DP, and for the past few years I've started moving towards digital filmmaking. At first I was using MiniDV but the quality was very cheap, so my equipment now is a Canon EOS Rebel T1i that I equip with old 1.4 lenses, and a Sony NEX 3 that I also equip with a bunch of old lenses some of which are handmade/modified lenses. My question is this : Which one is the camera that I should use the most for my films? The EOS has a 20 fps frame rate but a very large image (1920x1080) so maybe that's bad? I only have like three lenses that can go on it and the lenses I design cannot go on a camera with a mirror. Is it that bad to shoot 20 fps? I used to shoot 18 fps with super-8mm. Handheld, the images are too shaky. The NEX has a better frame rate of 30 fps but the image is 1280 x 720, although I have way more lenses for it and most of the homemade lenses I build can go on it because it is mirror less. I've had issues with the compression, though, that make it annoying to use this camera. When handheld, the images aren't too shaky though. I think maybe I should get a NEX-VG10? At the end of the day, I'd love to have a camera that's not too bulky and can shoot very good images, not too compressed, with an e-mount. Getting good sound isn't a priority. I also think it might be possible to get an external SSD recorder to plug in the HDMI of the Sony NEX, thus I would have an uncompressed image from the NEX? At the end of the day, I've used more than 80 different cameras to make my films, and I feel like the search can be endless, although I know the content is what matters more than the tool. But please let me know what you think.
  20. Hello I've been making Super-8 and 16mm and 35mm short films most of my life as a filmmaker and DP, and for the past few years I've started moving towards digital filmmaking. At first I was using MiniDV but the quality was very cheap, so my equipment now is a Canon EOS Rebel T1i that I equip with old 1.4 lenses, and a Sony NEX 3 that I also equip with a bunch of old lenses some of which are handmade/modified lenses. My question is this : Which one is the camera that I should use the most for my films? The EOS has a 20 fps frame rate but a very large image (1920x1080) so maybe that's bad? I only have like three lenses that can go on it and the lenses I design cannot go on a camera with a mirror. Is it that bad to shoot 20 fps? I used to shoot 18 fps with super-8mm. Handheld, the images are too shaky. The NEX has a better frame rate of 30 fps but the image is 1280 x 720, although I have way more lenses for it and most of the homemade lenses I build can go on it because it is mirror less. I've had issues with the compression, though, that make it annoying to use this camera. When handheld, the images aren't too shaky though. I think maybe I should get a NEX-VG10? At the end of the day, I'd love to have a camera that's not too bulky and can shoot very good images, not too compressed, with an e-mount. Getting good sound isn't a priority. I also think it might be possible to get an external SSD recorder to plug in the HDMI of the Sony NEX, thus I would have an uncompressed image from the NEX? At the end of the day, I've used more than 80 different cameras to make my films, and I feel like the search can be endless, although I know the content is what matters more than the tool. But please let me know what you think.
  21. This was a test conducted a while ago but thought you might find it useful here. Compared in this shootout are the Leica Summilux-C, Zeiss Master Primes, Zeiss Super Speeds, Zeiss CP.2 Super Speeds, Canon CNE Primes, Canon K35's, Optica Elite Primes, and Luma Tech Illumina Primes. Lenses are compared wide open and at t2.8. All samples are available for download in jpeg and in R3D. Have a look and hope it's useful to you. http://matthayslett.com/salt-iii-high-speed-lens-shootout-wfo/ "Mission Statement: The purpose of this shootout was to directly compare lens sets on an identical setup. Our goal was not to “test” the lenses, rather provide you with all the info necessary to evaluate the lenses and decide what works for you. These lenses cover a wide range in affordability and availability. This shootout was never meant to prove which set is better than the other. We hope you will see that any of these lenses could be used to shoot quality material and have been for years. We attempted to get Cooke 5i’s for the test but unfortunately none were available at the time. Some of the lenses have slightly varying focal lengths so understand field of view may appear slightly different (i.e. 24mm vs 25mm, 75mm vs. 85mm). Please also keep in mind the slight differences in exposure since we were working with lenses rated between T 1.3 and T 1.5. No matte box was used to insure there was no vignetting or concealing of flares. All images have not been adjusted or corrected anyway. A white balance adjustment is all that has been made. We all know these lenses perform well closed down to a T 2.8, so this shootout was designed to push the lenses to their limits wide open. Most of the flaws visible wide open disappear once stopped down(examples will be available for download)." Projection: The below results were attained using the lens projector at Duclos lenses that is set up in it’s own room, specifically for the purpose of evaluation of optics on an even playing field. The same projector and screen were used for all lenses and the distances were maintained for the equivalent focal lengths (3′ for wide lenses, 6′ for teles). A loupe was used to determine resolution in line pairs per height and width for the Center, Field (middle) and edge of the frame based on a super 35mm motion picture frame. All of the findings below should be interpreted as applying only to the S35mm frame in which the lenses are designed to cover. Numbers are specific to each lens wide open. Lastly, although we did measure the lenses in line pairs this is an observational procedure and rather than deal with the political ramifications of publishing these absolute numbers we’ve decided to present them as they apply to the S35 sensor in the Epic and Scarlet. The data presented below is such that even measurements with a “Fair” grade will, for the most part, resolve the full resolution of the sensor. Notes: Where you see notes in the table below represent specific observations, if a field is blank that means that the lens performed average for that metric. If it was either better or worse or particularly apparent it was recorded. Perspective: Keep in mind these are purely technical numbers and do not speak to the cinematic look and quality the lenses exhibit in a real world scenario. Duclos Evaluation PDF (Click to download) Torture Test: This shot was designed to push all the lenses to the edge. If you plan on using these lenses wide open you need to view them at their worst. This test will show the differences in Resolution, CA, Contrast, Flare Characteristics, Bokeh, Breathing, Distortion, and Color Rendition. The test was performed both wide open and at T 2.8. For each focal length increase, the camera was moved back to maintain a similar frame for every lens. The test was captured with the Red Epic (5KFF, 320ISO, 23.976fps, 3:1 compression, 3200K) due to the high resolution sensor and ability to change lens mounts in a minute. Shutter speed was used to control exposure. Focus was confirmed for each lens in a 3 step process. First using the built in focus assist function, then by eye off the siemens chart, and finally confirmed on a 1080p on set monitor. All this was performed after the distance was confirmed with a tape measure. Here is a look at the test in action: Beauty Test: This test was designed for the telephoto lenses of each set. We wanted to see how each lens treats a human face both wide open and again at T 2.8. Focus was set to the left eye closest to the camera with the same three step focus confirmation. We have to give a big thank you to Stephanie from Duclos Lenses for being our test subject. Shutter speed was used to control exposure. Shot on the Red Epic (5KFF, 320ISO, 23.976fps, 3:1 compression, 5000K post adjusted). In action: Video: The video comprises both the Torture Test and the Beauty Test. It’s just shy of an hour but make sure to watch the entire thing. Hope the music makes it a little more entertaining for you! Keep an eye out for the areas highlighted below. This will give you a baseline indication for comparison. View downloads at 100%. http://www.youtube.com/watch?feature=player_embedded&v=xap3FJDcCUw Comparisons: (Wide Open) Available on website: http://matthayslett.com/salt-iii-high-speed-lens-shootout-wfo/ Conclusion: It’s safe to say the torture test is rather harsh for all of the lenses (except Leica Summilux-C and Master Primes) while all perform well on the Beauty Test. Like I said earlier this shootout wasn’t intended to pick a winner, but really to compare and contrast between the sets. As you can see in this example the Leica’s and the Master Primes come out as the most rounded of the lens sets. This test is definitely not definitive and each real world shoot has a specific need or look and varying budget. A set that works for one project may not work for the next. Download the test material which is provided in the links above and have a look for yourself (both R3D grabs and stills are available for each set). Before you make any conclusions I would urge everyone to perform their own tests if possible. Those of us who put this shootout together would like to thank all of you for taking the time to view this and hopefully you get as much out of this as we have. Visit the webpage to download all the files and 4K video: http://matthayslett.com/salt-iii-high-speed-lens-shootout-wfo/ Matt Hayslett Director/Cinematographer Los Angeles, CA. matthayslett.com
  22. Hey everybody After getting my Black Magic Pocket Cam, and a bunch of accessories, I'm about to start delving into the wonderful world, and perform some lens tests. I have 4 Schneider Prims, and 4 Kern Primes. The gear is almost complete. But I'm stuck in finding a solution for a ND Filter for these little primes. Any suggestions? I'm not sure if there's any that could fit a Matte Box? Not sure if that is still used. Thanks, F
  23. So, after surfing around the forums and googling, etc. I have sparked up some questions I have about cameras and such. I was reading the Catching Fire thread where Jo Willems and Dave Thompson have actually posted, which is downright awesome, but while reading some of their responses, I found myself getting a little lost. I'm 19 and have been shooting pictures (not much video) for about 5-6 years now and have picked up my fair share of knowledge on my own, and I've never had any "formal training", if we can put it that way. Anyways, I of course know all of the basics about equipment (or I believe I do) and composition and such, but I read articles of DP's being interviewed and then the Jo Willems forum post and I'm so confused sometimes. For example, a bunch of them keep talking about E, C and G lenses and I'm not sure what that translates to. Also I was wondering some stuff about anamorphic, and aspect ratios. I know about the common ones like 16:9 and such, but I've seen them post about 2.39:1, etc. I'm really trying to get this whole cinematographer thing to work after college, with moving to NY and what not, but I feel overwhelmed at times thinking about all the things I have yet to learn! Thanks in advance for any responses, everything is appreciated.
  24. Lenses and the proper ones to use for certain scenes completely baffles my mind, can someone suggest a book that i could read to better understand the functions of each lense.?
  25. Company's East Coast Presence Continues to Grow with New Secaucus Facility (SECAUCUS, NJ) Bexel, a unit of the Vitec Group's Services Division and a leading worldwide provider of broadcast services and solutions, will be highlighting their growing inventory of 4K camera systems at Cine Gear Expo New York, which runs September 27-28 at Manhattan's Metropolitan Pavilion. The company recently increased its East Coast presence by opening a new 20,000-square-foot facility in Secaucus, New Jersey, to support broadcast productions with a broad depth of solutions. At Cine Gear Expo, Bexel will be showcasing the 4K Sony PMW-F5 and PMW-F55 with Fujinon Cabrio PL-mount lenses, as well as the Canon EOS C300, among other offerings. "We are committed to investing in the advancing camera and lens technology that broadcasters need, and provide the expertise and equipment choices that satisfy a variety of shooters integrating HD video and cinema-style options," says Tom Dickinson, CTO of Bexel. "To do that, we are broadening our PL-mount inventory. The Sony F55 and F5 are giving our clients great shots that look like film, and the ability to be more creative, particularly when paired with the Fujinon Cabrio PL lenses. We also have a whole range of customers benefitting from the flexibility and affordability that the EF-mount Canon EOS C300s offer in augmenting a variety of video productions." Cine Gear Expo New York also gives Bexel the opportunity to introduce its New Jersey hub, and make the broadcast community aware of the company's increased services, as well as the vast inventory that Bexel now has available on both coasts. The new Secaucus facility marks a significant expansion for the company. The large, modern space located near the Newark International Airport offers robust systems for rental or purchase, regional engineering support, large staging areas and loading docks, and warehouse-sized storage. Bexel's New Jersey team recently supported the broadcasts for the entire run of the 2013 US Open, one of the longer sporting events on the company's roster, and is currently preparing for the PGA Grand Slam of Golf in Bermuda. "Secaucus is a convenient and familiar spot, and we secured a beautiful space that will help us serve our customers better," adds Dickinson. "The new facility nearly triples the size of the former Manhattan Bexel operation." In addition to the Secaucus location, Bexel hubs are set up in Dallas, Washington D.C. and Los Angeles, complemented by regional sales offices in Atlanta and Sao Paulo, Brazil. # About Bexel Bexel is the pre-eminent worldwide provider of broadcast services including video and audio equipment rentals, fiber services, new audio sales, used equipment sales, and repairs/maintenance. Bexel provides brilliantly designed and flawlessly executed systems and solutions to all customers - including producers of the biggest and most important televised events in the world. For more information, visit http://www.bexel.com. About the Vitec Group Capture the moment For over 100 years, through every innovation in photography, film and digital image-making, Vitec businesses have developed a powerful portfolio of brand and products that have enabled some of the most amazing moments to be captured under some of the most challenging conditions. Vitec is an international Group principally serving customers in the broadcast photographic and military aerospace and government (MAG) markets. Vitec is based on strong, well-known premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Videocom, Imaging and Services. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Imaging designs, manufactures and distributes equipment and accessories for photography, video and events. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production and film crews. More information can be found at www.vitecgroup.com. # Media Contacts: ignite strategic communications Lisa Muldowney - 760.212.4130 / lisa@ignite.bz Sally Christgau - 415.238.2254 / sally@ignite.bz
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