I shot with the Sony Venice because I’ve gravitated toward the Sony sensor for shooting digital and because it reads lenses so accurately. I choose lenses based on how they react to lighting. Many shooters will stress that investing in good lenses is more important than buying fancy camera bodies. However, many prefer telephoto lengths as being far from the subject makes it easier to illuminate the scene. Last but not least, the Yashica Mat 120G is a twin lens reflex camera that offers a crank advance method and typically features a 75-mm 3.5 Lumaxar taking lens and a 75-mm 3.2 Lumaxar viewing lens. Since much of the drama would be captured through intimate close-ups, we felt the choice of glass was essential. It is worth noting that the unit features a solid weight and is durable. And as for the Alexa mini, it’s just got the best dynamic range, especially in the bottom of the curve, of any Super 35 sensor camera. The majority was shot with the Cooke S5’s which open to T1.4 which would allow for very shallow focus when required. Zoom lenses with a constant aperture are easier to work with, but they typically come at a higher cost. Lenses are key to making your favorite camera create the images you envision. The 35mm 1.8 DX Nikon is the same field of view as a 50mm lens … Zeiss CPZ Zooms. EF mount lenses will work on EF-S cameras, but EF-S mount lenses will not even attach to an EF camera. View Prices on Amazon Pros. The narrow focus ring is at the front of the lens body and you would struggle to attach a focus gear for use with a follow focus. Plus, few adapters allow for digital communication between the camera and the lens. The iris also influences the appearance of bokeh — or blur— in your image. David [Fincher] and I built the visual language around three distinct types of shots; wide masters, overs and singles; we moved the camera very little. A part of Sony’s high-end G Master line of lenses, a great deal of work went into to correcting a wide variety of spherical and chromatic aberrations resulting in a clean, crisp image. We wanted to be able to choose the focus in the frame, and use the aberrations and lens flares from the anamorphic lenses. The lenses are designed with standardized positioning of the focus rings and a consistent 95 mm front diameter to allow for fast and easy changeover between lenses while on set. Pre-production was about creating the world with a 360-degree approach, which allowed the actors and the camera widespread freedom. Shooting on prime lenses requires a bit more discipline than zooms when you’re lining up a shot, as you have to consider camera placement as it relates and composition. Other than instant film cameras, these classic cameras are the most popular and affordable film cameras on the market.Though new technology has made some versions of these devices slightly more complex, they … Format: Redcode RAW .r3d in 8kCamera: Custom Red Xenomorph Mk2 designed by the team at RED. Simply put, once you look at side-by-side closeups on the big screen, there is nothing more emotional and powerful than film. We wanted the storytelling to be very objective and simple with a limited use of POV. Another important factor of your lens purchase is the sensor format of your camera. Being T1.5 and full frame gives an incredibly shallow depth of field, meaning I could pop our cast out from the background, even on the “nipples and up” MCU, which is as close as we ever go. For one, they often have a more robust build and lower tolerance for variation in their specs. Copyright © 2020 Penske Business Media, LLC. It’s noted as the maximum width to which it can open. Every frame has the potential to become a layered tapestry. Sign up for our Email Newsletters here. We were drawn to anamorphic, specifically because its bokeh (the out of focus part of the frame) created a skewed backdrop for their close-ups, subtly depicting their fracturing world. Check Out Our Other Camera Guides & Recommendations. More blades lead to a more circular opening, producing smoother, more pleasing bokeh in the defocused areas of the image. “Watchmen” cinematographer Gregory Middleton, Nominated Episode: “This Extraordinary Being”. Constant f1.8 max aperture at all focal lengths, Not suitable for use with full-frame sensors, Color-matched to other Zeiss cinema lenses. There is some magic there; a great cinematic feel where a medium shot of an actor feels like a wide landscape shot. The lower the number, the wider the angle of view, allowing more of the scene to be captured. Key considerations. Lenses with focal lengths between 20mm and 100mm are much more common in video production, with 50mm lenses more or less approximating the field of view of the human eye. Sensors smaller than full frame come with a crop factor that will increase the effective focal length of your lens. The focal length of macro lenses usually varies between 35mm and 200mm. Also, the wider the opening of the aperture, the more shallow your depth of field will be. There are also manufacturers such as Sigma, Tamron, Rokinon and Fujinon that offer the same lens across several different mounts. We shoot about 75% on location and having the dynamic range of the Alexa as well as the small form factor is great. Additionally, while new video cameras are being made every year, the technology in optics just doesn’t advance as fast. It was expansive to utilize digital capture for the true attributes of the medium but as always “Westworld” shoots 35mm film and will continue to do so. A recessed board might be needed on some cameras for lenses wider than 90mm. The rules created limitations, which forced us to creatively approach situations in unusual ways. Because of these demanding specifications, they are often considerably more expensive than similar still lenses. This Nikon 18-140mm camera lens features a Silent Wave Motor (SWM) for super quiet clicks. Some manufacturers use different mount subsystems that represent the sensor size as well. In total, the lens weighs just 13.2 oz (373g). With a bright maximum aperture and eight blade diaphragm, this is another lens well-suited for working with low lighting and provides a stellar bokeh. Format: 3.2K Apple ProRes 4444 / ARRI Log-CCamera: Arri Alexa Mini (Panavised)Lens: Panavision Primos, mostly the 24mm and 30mm. It has been produced in various iterations, e.g. Irix cinema lenses are available in additional focal lengths, including 11mm, 15mm and 150mm. Likewise, lenses with wider maximum apertures will usually be more expensive. But when we did come in for a close-up, it was to capture another powerfully ambiguous performance by Jayden. I also like their quality on faces and had used them first on the dark police series “The Killing.” I love Panavision’s T and C series anamorphics and they allowed for shallower depth and very different bokeh. Leica M6. Think of a shot where the subject is in focus and the background is very blurry; it was probably done with a wide open aperture, like f/2.8 or wider. You’ll usually only find T-stops on cine lenses, since filmmakers especially value the consistency in exposure they provide. This means that they are able to maintain consistent focus across the throw of the lens. As an entry-level camera, the X-T200 comes with the Fujinon XC15-45mm f/3.5-5.6 lens, which is a great everyday lens for street portraits and travel. It lacks some of the more advanced features of its expensive rivals, but for everyday shooting, there is little this lens can’t do. The bouquet and inherent aberrations in the Panaspeeds were the perfect combination color, speed, and resolution. The Alexa Mini body is light enough to use on a Steadicam and MoVI, and small enough to handle the tight locations or crowded rooms we find ourselves in sometimes. Every camera manufacturer has a different system for connecting lenses to their cameras. Irix Cine Lenses are a good choice for novice to professional filmmakers and they retail for a fraction of the cost of higher-end lenses. The lens mount has a rubber weather-seal ring but the barrel isn’t weather-sealed. Firstly, if you are looking at a Canon film camera because you already have a Canon Digital SLR and want to share lenses then be careful – chances are if you have one of the less expensive Canon cameras you will have bought it with a EF-S lens, such as the EF-S 18-55mm f/3.5-5.6 in one of its several incarnations. Jonathan Nolan and “Westworld” cinematographer Paul Cameron, Format: Westworld continues to shoot Kodak 35mm Film as Primary Capture. Also, with the Mini specifically, we have stuck with that sensor size because it lends itself well to how we play with compressing space and finding graphic framings — even though there are Alexas with bigger sensors and more “K’s” out there now. The article is about lenses that have a field of view of a 35mm lens on a full frame camera. It is compact and features a fixed lens. Important for video, the maximum aperture of f1.8 is constant throughout the zoom range. “The Marvelous Mrs. Maisel” cinematographer M. David Mullen, Nominated Episode: “It’s Comedy Or Cabbage”. We wanted to visually underscore the instability of Jackie as she goes on her literal journey of self discovery. The show is relatively low budget, but the combination of fast camera and fast lenses meant that night exteriors could be shot with a tiny lighting package. OLYMPUS OM-1. The build quality of the lens is superb and the body is sealed to be water and dust resistant. The constant maximum aperture of f2.8 gives a great low light performance and image sharpness is excellent even wide open. On a camera with a APS-C sensor with a 1.5-time crop, the same lens will have a field of view approximately equivalent to a 52mm lens. Disagree with our picks? Ultimately, this meant the lighting was integral to the set, takes were long and the camera choreography developed as we shot. Though not fully weatherproof, the Tamron 28-75mm F/2.8 boasts moisture-resistant construction with environmental seals located at the lens mount area and other critical locations to prevent infiltration of moisture and/or raindrops. The Sony APS-C sensor a6 series has been the best selling mirrorless cameras in history. Partner with us to reach an enthusiastic audience of students, enthusiasts and professional videographers and filmmakers. Again exceptionally filmic, which was key for “TEOTFW2.” They have a gentle vignette wide open, which worked well with our centrally-frame everything rule. The lens features a minimum focus distance of 7.5 inches and max magnification of 0.2 times. Zoom lenses will often feature a variable maximum aperture depending on the focal length used. We wanted a mixture of the starkness of the original graphic novel, and the filmic honesty of a ’90s Coen brothers-esque indie movie! Cine lenses are different from still lenses in a few ways. The nominees answers are aggregated below: “The End of the F***ing World” cinematographer Benedict Spence. Season 1, shot on Red, had a strong look but we wanted to push it further. The Sigma 24-70mm f/2.8 also has a number of protections against aberrations and an optical stabilizer system which is a great aid to help steady your footage when shooting handheld. It’s like we’re part down and dirty and part more traditional, and with the lens/camera combo we can stretch creatively into both and keep the looks married. Type: Mirrorless APS-C sensor camera Megapixels: 24.2 Size: 4.72 x 2.64 x 2.36 (120 x 67 x 60 mm) Weight: 403 g (0.89 lb) More Info: Sony a6400 Review CHECK THE LATEST PRICE. By the end of the season, even Jonah Byrde has lost faith in his parents and who’s safe in a world where you can’t trust your parents? But first, let’s take a look at the best lenses currently on the market. 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