What is it that makes Cooke cinema lenses so special?
Currently the best (read expensive) full frame lenses for low light are the Zeiss Otus 55mm F1.4 and the Leica M Noctilux 50mm F0.95.
How does the SLR Magic HyperPrime 50mm T0.95 rate as an alternative?
(The anamorphic footage starts around 10 seconds in)
The new SLR Magic Anamorphot 50 jointly developed with the help of EOSHD is here in it’s final non-prototype form and I’ve shot the above video with it (Sony FS100). This should give you an idea of how the flare moves around during a shot and the general anamorphic aesthetic you are able to get with the adapter.
Also part of the fun of the adapter is that like the Iscorama it sings with certain lenses, which all have a different look. I’ve been trying it out with a bunch of them…
Disclosure: I have worked closely with SLR Magic in refining the flare and have a close relationship with SLR Magic, but I am approaching the lens objectively in my articles.
It’s here! The finished lens.
The Sony RX1 has amazing stills but awful video! I began thinking how could I use this otherwise great little camera for video? The answer is to rough up the image beyond comprehension, with trick filters. Here’s how I did it.
Camera supplied by CVP who came through and fulfilled my pre-order from NAB in early April. Personal note: I was saddened to learn of the death of CEO Phil Baxter earlier this month and in Phil’s memory a fund has been set up which will donate a pot of cash to the Make A Wish Foundation UK charity. This charity helps fund memorable experiences for young people fighting life threatening illnesses. Donate here even just a small amount helps further the dreams of those kids.
The Blackmagic Pocket Camera is finally at EOSHD HQ, and comes from one of the first new batches to ship since the white orb sensor calibration issue was resolved. Have they fixed it? Let’s not get too caught up in things like that for the moment. For me this camera is all about the lenses.
I’ve been a Micro Four Thirds shooter since day one with the G1 back in 2008. This was the first camera to tempt me away from Canon and over the last 5 years I’ve been building a rather ridiculously obsessive collection of Micro Four Thirds glass for my GH1, GH2 and lately the GH3, as well as c-mount glass.
The best c-mount glass is mainly vintage Super 16mm from the 60′s and 70′s. Classics like the Kern Switar 26mm F1.1 for instance, which an ex-BBC cinematographer once described to me as being “made by spacemen” such was the performance before the technological era of computer assisted optics design.
In part 2 of the SLR Magic anamorphic coverage we’ll look at how the prototype lens looks and performs on the Blackmagic Cinema Camera.
There’s also a poll in which you can help influence the final lens flare this anamorphic produces.
SLR Magic are working on a 1.33x anamorphic adapter. Hong Kong based shooter Edwin Lee has tried it out. The lens is ‘compact’ and attaches to the front of your prime. SLR Magic say it works best currently with their 35mm F1.4 on Micro Four Thirds and the Canon EF 50mm F1.4 on full frame.
Above: EOSHD picked up this Bolex H16 for under 400 euros – it came with a complete set of Schneider Xenon lenses
I love the 16mm and Super 16mm format and there are two cameras on the horizon that could offer very exciting images. Digital Bolex with their global shutter, raw and extensive feature set then Blackmagic with their diminutive Pocket Cinema Camera which shoots ProRes and raw.
With only weeks to go until the expected Pocket Cinema Camera shipping data I’ve been stocking up on c-mount lenses. Here’s a guide to which ones work, which ones don’t, and how to spot a bargain.
Get the EOSHD Anamorphic Shooter’s Guide for a comprehensive guide to anamorphic lenses, which ones to use, how to get them and how to shoot
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.
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.
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.
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.
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.
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.
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.