Category: Lenses

2.5k CinemaScope anamorphic raw on the 5D Mark III

Monday, 20 May, 2013 20:33

Download the 2.5k 2560×1280 Vimeo file and playback on a 2.5K or 4K display for best results

Download a pack of DNG frames from the original raw files to judge quality

The spec sheet is impressive. 14bit linear bayer raw is sub-sampled from a 6K sensor, giving 1280 lines of extremely clean resolution with an anamorphic compliant 4:3 aspect ratio.

This is in a similar league to the image quality of the Sony F35 (Superman Returns, Tim Burton’s Alice In Wonderland) which cost $250,000 just 5 years ago.

Metabones Speed Booster for Micro Four Thirds – First Look and GH3 images

Friday, 17 May, 2013 16:45

The Speed Booster for Micro Four Thirds gives cameras like the Panasonic GH2, GH3 and Blackmagic Cinema Camera a Super 35mm / APS-C sized sensor using clever optics, in the same way that the E-mount version turned cameras like the Sony FS100 and NEX 7 into valid alternatives to full frame.

As well as shrinking the image circle of a full frame lens to fit a smaller sensor, the Speed Booster lives up to its name by giving you a 1 stop increase in brightness so that F2.8 effectively becomes F2.0.

I’ve been testing the Leica R mount version of the new Micro Four Thirds Speed Booster on the Panasonic GH3 and here are some of my early observations.

Digital goes back to the 70′s – 1st impressions of Dog Schnit Optiks Flare Factory 58 lens and sample photos

Monday, 25 March, 2013 14:47

The Flare Factory 58 is modified lens by fellow British filmmaker Richard Gale, and a regular member of the EOSHD forum. A few weeks go Rich sent me one of the first of the lenses, a Flare Factory 58 (serial 004). Humorously branded Dog Schidt Optiks (the ‘n’ is silent), Rich is modifying Helios 44-M 58mm F2.0 lenses making versions with a unique character which can be customised on order. They are hand assembled and modified in England.

Shooting guerrilla style in Berlin with Iscorama 54 and Blackmagic Cinema Camera

Thursday, 14 February, 2013 16:35

The Lens

Whilst Canon L lenses are like a fleet of company Lexus cars. This isn’t really what I want in my films. I need something different. Something with character.

For this reason I’ve long been using anamorphic lenses. I recently shot some test footage with the Iscorama 54 anamorphic. This is essentially an Iscorama 36 but instead of a 36mm rear element it is 54mm. Even though the whole lens is double the weight, not as sharp and almost triple the size I like it because it has character.

All aboard the Juice Train, an anamorphic train journey from Florida to New York

Saturday, 26 January, 2013 00:51

Check out more of Andrew Wonder’s work here

Director, cinematographer and DSLR user Andrew Wonder talks to EOSHD about his latest anamorphic spot for G.E…

The technology behind the shoot is rather interesting. Two Sony F3 cameras mounted on the front of the train, remotely controlled and recording to e-sata drives in the control carriage, kitted out with Joe Dunton / Panavision anamorphic lenses from London.

Joe Dunton is a British Bafta winning camera equipment guy who has always held a great fascination with anamorphic lenses, and was one of Stanley Kubrick’s closest collaborators after A Clockwork Orange in the 70′s and provided Kubrick with his lenses on Eyes Wide Shut.

Sony FS700 slow mo goes low light with Speed Booster and the new SLR Magic T0.95 lenses

Thursday, 24 January, 2013 04:12

Please email SLR Magic here to order their new lenses

I’ve had a FS700 for a few days and tonight myself and Rudi of Slashcam.de got out and gave it a test run in Berlin. We only shot for 2 or 3 hours and after editing the test I had a lot of ideas for slow-mo shots that would have worked with the song – slow-mo is actually a great creative tool, not a gimmick. Had we the FS700 for longer then I think I could run with this theme of rushing commuters set to the David Bowie song Move On, which pokes a little fun at wanderlust.

Alas slow-mo is the FS700′s best feature. I consider the ND as a bit of a clumsy bolt on, the Sony F5 does it much better. I will consider the 4K output when I see it. Until then this is a 1080p camera.

I’ve also been shooting with the new SLR Magic 35mm T0.95 (Leica M / E-mount) and 25mm T0.95 (Micro Four Thirds / Blackmagic Cinema Camera MFT). Shooting slow mo in low light, you need them.

Prototype Metabones Speed Booster equipped NEX 7 VS full frame 5D Mark III – 1st comparison shots

Tuesday, 15 January, 2013 02:47

Speed Booster at 35mm F1.0 on the Sony NEX 7

With the Metabones Speed Booster APS-C and Super 35mm sized sensors have taken a barrelling charge up to the door of full frame.

Does it blow the doors off?

“Hurt Locker” lens Canon 8-64mm T2.4 PL zoom – perfect companion for the Blackmagic Cinema Camera?

Friday, 11 January, 2013 17:48

UPDATE: Shane now seems to say it vignettes at 8-12mm. Take all this with a pinch of salt until he makes his mind up

Usually most Super 16mm cinema glass won’t cover the larger sensor in the Blackmagic Cinema Camera. The sensor is closer in size to the Panasonic GH3. However Shane Hurlbut has had a rather useful discovery, in shooting with the Canon 8-64mm F2.4 on the BMCC he found it covers the sensor just fine without vignetting.

Canon 8-64mm T2.4 PL / Arri on eBay US

Blackmagic Cinema Camera goes anamorphic with the Isco CentaVision 2x

Thursday, 13 December, 2012 23:02

If I were stuck on a desert island with only one lens, I’d choose the $20 Helios 44M-2 and anamorphic adapter. OK that is technically two lenses but I’d fire all my other lenses at a brick wall at 200mph if it meant keeping hold of the Isco CentaVision 2x anamorphic.

Hawk go spherical in a big way with F0.95 / T1 Vantage One creative cinema lens range

Thursday, 29 November, 2012 01:39

These look like they’re going to be a great rental option for creative filmmakers looking for that dreamy low light look. Hawk, famous for their anamorphic lenses have launched a new range of standard spherical cine glass. The aperture is F0.95 following in the footsteps of Voigtlander with their 25mm and 17.5mm for Micro Four Thirds.

Unlike Voigtlander however, Hawk have gone all out and done a massive range of lenses which cover Super 35mm in PL mount. There’s not only a 17.5mm and a 25mm but a 21, 25, 32, 40, 50, 65, 90 and a 120.

I also recommend checking out the SLR Magic T0.95 50mm for those with low light kings such as the Sony FS100. Leica M easily adapts to E-Mount. The Hawks however are PL so you can use them on the other low light king, the Canon C300.

LOMO anamorphic goes Super 35mm – my music video shot on the FS100

Tuesday, 27 November, 2012 07:08

Get Dreamleaver by Herdwhite on iTunes

Embedded video not showing? Click here to view or download on Vimeo

A big thanks to Ciecio7 for donating his superb OCT19 to E-Mount lens adapter for this shoot. This is available on eBay.

We shot this with the young German movie actress Lili Zahavi (IMDB) and theatre actor Niklas Brubach. A big thanks to both of them for their performances. This is a music video for my fellow friend from Manchester “Herdwhite” whose track Dreamleaver was recorded here in Berlin.

The Sony FS100 has a nice image but it isn’t as organic as the Blackmagic Cinema Camera. To make it more organic you use organic lenses. Actually as Herdwhite would tell you it is the same with music. You can use a drum sample – but it is not as organic as a real drummer. Anamorphic gives you instant production value if used well.

SLR Magic Prototype Anamorphic footage and feedback request

Thursday, 15 November, 2012 22:34

Above: A message from Andrew of SLR Magic

SLR Magic are stepping into the world of anamorphic lenses. Developed afresh, this will be a 100% new custom designed anamorphic lens for filmmakers but priced accessibly for DSLR filmmakers as well as pros. The footage above is from the early prototype and I have been speaking to Andrew Chan of SLR Magic about the early development of the lens.

Filmmaker Andrew Wonder on anamorphic and modding his Iscorama 36

Friday, 09 November, 2012 04:27

Filmmaker Andrew Wonder (Undercity) has had some interesting modifications done to his Iscorama. Not a cheap modification but re-housed as a cinema lens by Van Diemen and optimised for closer focus.

The test above is shot on the 5D Mark III and there’s more from Andrew below, on his ‘Wonderscope’ anamorphic.

Adventures with the 5D Mark III and Canon 135mm F2L in Croatia

Wednesday, 31 October, 2012 17:41

The Canon 135mm F2L is at the moment my favourite lens on full frame.

For the kind of shooting I am doing here, I wanted to stand back from the scenery and punch in.

How does it perform?

A guide to the best wide angle lenses for the Blackmagic Cinema Camera

Thursday, 30 August, 2012 17:41

Blackmagic Cinema Camera wide angle lenses

A French rental house tries lenses on the Blackmagic Cinema Camera (La Blackmagic Camera passe chez PhotoCineRent)

Here I have rounded up all the lenses I have in mind for achieving a wide angle on the 2.3x crop sensor of the Blackmagic camera.

Canon EF 40mm F2.8 Pancake Review

Wednesday, 04 July, 2012 18:39

Canon EF 40mm F2.8 Pancake Review

Canon’s first ever pancake has been cooked up. Is it sweet or a bit crêpe? EOSHD takes a look.

First review of the GH3′s kit lens? Panasonic 12-35mm GX Vario F2.8

Monday, 21 May, 2012 01:20

Panasonic 12-35mm F2.8

The weather sealed 12-35mm is Panasonic’s new top of the range Lumix zoom with a constant F2.8 aperture. It’s also the lens most likely to be offered with the (also expected to be weather sealed) GH3. Panasonic have taken a huge step with build quality on this lens and I’m expecting the GH3 to be a big improvement in this area as well.

DSLR Magazine have taken a look at the new lens, and here’s my view on it.

Prototype SLR Magic 25mm T0.95 samples on the GH2 (with comparison to Voigtlander Nokton 25mm F0.95)

Monday, 07 May, 2012 21:24

SLR Magic 25mm T0.95 - Prototype sample

One of my favourite lenses on the GH2 (if not the favourite) and the one that gets the most use is the Voigtlander Nokton 25mm F0.95. It offers unrivalled shallow DOF on the GH2′s 1.86x crop sensor and superb low light performance.

However it is a photographic lens not really designed for cinematographers. Now SLR Magic are producing a cine lens rival for the same price – with minimal breathing, 10 blade aperture for smooth bokeh when stopped down and clickless aperture ring.

Noktor 12mm F1.6 Micro Four Thirds hands-on with GH2

Tuesday, 11 October, 2011 04:53

My lens is a pre-release version. Interested buyers can contact SLRMagic about the Noktor 12mm here

Here is a lens the GH2 has been crying out for to compete with full frame. A good fast wide with more potential for shallow depth of field and low light performance. Indeed it is something the entire Micro Four Thirds system has needed for a while.

Cinematic and photographic lenses for the Sony NEX 5N and FS100 – Part 1

Friday, 16 September, 2011 15:04

Zeiss Contax G 45mm F2

The NEX 5N’s APS-C sensor behind a mirrorless mount opens up some new possibilities when it comes to adapting lenses for video.

In part 1 I will cover recommended adapters and small walk-around street photography lenses which don’t compromise the compact size of the NEX 5N as a b-roll cam and digital rangefinder. There’s only one Sony pancake at the moment and it’s not very good so these are the answer.

In part 2 I will cover the larger standard SLR primes.

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