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

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.

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

Do your lenses adapt to the Sony A77 a-mount?

Sony Alpha Leica R Adapter by JIN Finance

All lenses are designed to be placed at a certain distance from the sensor. Too far away and you won’t get infinity focus. In fact – if it’s off by just a few millimetres your lovely lens will become a macro optic only useful for taking snaps of insects and flowers.

So what DSLRs will your current lenses adapt to? The rule to follow is to see what your body’s flange size is. That isn’t innuendo it refers to something technical! Let me explain…

Read moreDo your lenses adapt to the Sony A77 a-mount?

Voigtlander Nokton 25mm F0.95 teardown, modified with cine gears + Canon FD 50mm F1.2L first look

Matthew Duclos reports that he’s modified a Nokton 25mm F0.95 for film industry use. It has several standard features of a cine lens.

  • Seamless follow focus gear
  • 80mm front ring
  • De-clicked aperture ring

Read moreVoigtlander Nokton 25mm F0.95 teardown, modified with cine gears + Canon FD 50mm F1.2L first look

Anamorphic Widescreen – Panasonic GH1 with LA7200 Lens – Part 1

Read part 2 here

Here at EOSHD I am a bit fan of widescreen cinema. When I shoot, I think of the greats of cinema like Hitchcock and Kubrick, and I not only find it fun to try and get the best out of the GH1 – but to get something unique. The look and feel of super-wide screen shooting with anamorphic lenses is unique, and very very cinematic.
At the moment, normal 16:9 widescreen is ubiquitous and everybody is doing it. So get ready to step away from the crowd and let’s investigate proper cinema widescreen with some real life shooting!

Read moreAnamorphic Widescreen – Panasonic GH1 with LA7200 Lens – Part 1

High quality 2:35, Iscorama the only option? Think again…

16:9 is very 2009. EOSHD.com recently came across a video (at the bottom of this page), which shows a Panasonic LA7200 anamorphic conversion lens on a Canon A1 camcorder. This is shot in 16:9 but converted to Cinemascope style 2:35 with the anamorphic lens. As you can see when you watch it, the shots look great and it looks sharp like Iscorama footage.

Read moreHigh quality 2:35, Iscorama the only option? Think again…