Imagine if every photo was lit using a flash gun, well the same goes for cinematic scenes. Often some of the most interesting and varied light is already right in front of you. Not everything has to be studio light rig based. I don’t think of ‘lighting a scene’ as always directly controlled, often it is wild. Lighting you can control is only half of the cinematographer’s job and so many films make use of the sun as a key light. Terrence Malick has based a career on magic hour light! The world of natural light is expansive and varied. …
Sorry – out of stock This rig is awesome. The first of it’s kind made especially for the Panasonic GH2 and GH1, it has a trigger release to start and stop recording on a pistol grip so you never have to take your hand away. It is far more affordable than the usual DSLR rig as well despite being all aluminium and with the unique pistol grip being made in Japan.
The Lumix 14mm F2.5 pancake is currently my favoured option on the GH2 but there are some more affordable alternatives for budget filmmakers.
Diopters are somewhat of a miracle with anamorphic lenses. My Tokina +0.4 helped cut the minimum focus distance of my Isco down to less than 4ft from 2 meters and helped sharpen it up at fast apertures like F1.4.
Above, shot with the actual 12.5mm F1.3 prime lens Image credit Y.B. Hudson III Stanley Kubrick often used to like shooting with an 18mm lens for his trademark wide angle style, with S35mm film. The 18 is roughly 24mm in 35mm photography terms. A more recent example is the Canon 24mm F1.4L on a 5D Mark II used to such great effect in Undercity (below). It is this kind of look I want to create with my GH2.
Buy it now I’ve been shooting in Berlin this winter with my LOMO anamorphic cinemascope lens. This is a Russian anamorphic used by Andrei Tarkovsky, who shot Solaris amongst many others with it on Konvas 35mm film cameras.
On the back of the official AF100 firmware update (available here at Panasonic), it appears unofficial high bit rates and 1080/60p are coming to the AF100 in the form of a Vitaliy Kiselev hack. When asked of the hack was doable, Vitaliy replied “definitely”.
I have just been in touch with Birger Engineering, who are developing the first ever Canon lens adapter for the AF100, with full support for AF, aperture control on the camera body, and optical image stabilisation (IS).
Anamorphic lenses won’t just couple up with anybody and need the right partner. They’re very fussy. I am of course talking about prime lenses.
I’ve recently moved from Final Cut Pro because I want the speed boost of 64bit. Those with a NVidia CUDA enabled card will also get real-time FX editing with no timeline rendering.