Premium Member Miguel Angel Posted December 23, 2019 Premium Member Share Posted December 23, 2019 1 hour ago, Gregory Irwin said: That’s awesome! I’ll be sure to show him this. He’ll enjoy it. Merry Christmas Miguel! G Same to you Greg!! Link to comment Share on other sites More sharing options...
Stuart Brereton Posted December 23, 2019 Share Posted December 23, 2019 17 hours ago, Gregory Irwin said: The DNAs are made by ARRI for their large format cameras like the Alexa 65. They are decent pro-sumer lenses at best as far as I’m concerned. G What is it about the DNA lenses that makes you say this, Greg? Are the issues optical or mechanical? Link to comment Share on other sites More sharing options...
Premium Member Stephen Perera Posted December 23, 2019 Premium Member Share Posted December 23, 2019 ...and there's me thinking the 'lensing' looked familiar.....no Hasselblad Zeiss lenses at all haha...so goes to show I no nothing hahaha Link to comment Share on other sites More sharing options...
Premium Member Gregory Irwin Posted December 23, 2019 Premium Member Share Posted December 23, 2019 14 hours ago, Dom Jaeger said: Thanks for sharing your lens choices on Joker, Greg. It really was a very mixed bag, but the final product looks fantastic! Were the Canons the CN-E Primes with PL mount conversions? And were the Leicas rehoused Leica-Rs? And the Nikon was the Zero Optik rehousing? Interesting that you didn’t much use the dedicated 65mm lens lines that Arri offer (or Leica Thalias), but gravitated towards older stills designs. You’re so welcome! To answer your questions: yes yes not sure. The lens choices were based on several factors. They needed to be spherical (1:1.85), small in size, light weight, close focus and high speed. The converted still lenses had the look that Larry was going for as opposed to the available cine lenses at the time, although we carried some Cine lenses as well. The biggest challenge in the lens search was which lenses would cover the Alexa 65 sensor with a minimal extraction percentage? Lenses that terribly vignetted were ruled out immediately regardless of their optical quality. Out of the preferred lenses that did vignette, the question was could we open the iris or improve other physical barriers that would allow improved performance and less vignette? I tested somewhere around 200 lenses to end up with the 19 we chose for the movie. I believe we settled on a 5% extraction of the sensor. And as I mentioned before, out of the selected lenses that allowed us to do so, we changed lens coatings, changed color and flare characteristics in order to make this mixed bag match better. In the end, we mostly shot JOKER with maybe 7 lenses. All in all, my camera prep was around 7-8 weeks to accomplish all of this. Happy Holidays all! G 1 Link to comment Share on other sites More sharing options...
Premium Member Gregory Irwin Posted December 23, 2019 Premium Member Share Posted December 23, 2019 (edited) 6 hours ago, Stuart Brereton said: What is it about the DNA lenses that makes you say this, Greg? Are the issues optical or mechanical? Honestly Stuart, they don’t match in any way as a set. Also, similar focal lengths range all over the place in sharpness and contrast. Zero consistency Mechanically, they feel a bit flimsy. Some people love them so what do I know? ? G Edited December 23, 2019 by Gregory Irwin Link to comment Share on other sites More sharing options...
Stuart Brereton Posted December 23, 2019 Share Posted December 23, 2019 16 minutes ago, Gregory Irwin said: Honestly Stuart, they don’t match in any way as a set. Also, similar focal lengths range all over the place in sharpness and contrast. Zero consistency Mechanically, they feel a bit flimsy. Some people love them so what do I know? ? G From what the Arri website has to say about them, it seems like perhaps they are prioritizing character over consistency. Link to comment Share on other sites More sharing options...
Premium Member Gregory Irwin Posted December 23, 2019 Premium Member Share Posted December 23, 2019 (edited) 25 minutes ago, Stuart Brereton said: From what the Arri website has to say about them, it seems like perhaps they are prioritizing character over consistency. I guess that’s accurate. I’m just not sure what the character would be. Look, that’s my opinion. It doesn’t make me right. They are used plenty. G Edited December 23, 2019 by Gregory Irwin Link to comment Share on other sites More sharing options...
Stuart Brereton Posted December 23, 2019 Share Posted December 23, 2019 8 minutes ago, Gregory Irwin said: Look, that’s my opinion. It doesn’t make me right. Your opinion is extremely valuable, Greg, and always worth hearing. 1 Link to comment Share on other sites More sharing options...
Premium Member Tyler Purcell Posted December 27, 2019 Premium Member Share Posted December 27, 2019 On 12/22/2019 at 6:07 AM, Gregory Irwin said: I’m sure we shot with a long shutter many times Stuart on JOKER. My DIT, Nick Kay is a fan of utilizing shutter with exposure needs to trade off going to a high EI value. Though I don’t have our camera log books anymore, we most likely shot all of the dark, slo mo with a 360 degree shutter. Currently, Nick and I are employing many of the same strategies on our Marvel show with cinematographer, PJ Dillon (Game of Thrones) in order to serve over-cranked exposure needs for our low light, 8K, anamorphic format. Good to know, thanks for the insight! I use that trick all the time to avoid ISO increases. It's just another part of the toolbox. Link to comment Share on other sites More sharing options...
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