lenses

Four lenses: a visual comparison, part 2

Four lenses: a visual comparison, part 2

It’s time to name names. I’m going to tell you what lenses you’ve been looking at for the last few days, and offer my…

Four lenses: a visual comparison, part 1

Four lenses: a visual comparison, part 1

We live in an age of lens choice. Because of this, we also live in an age of lens tests. Done properly, such tests are hugely valuable. The best way…

ZEISS Otus 1.4/100: a new addition to a filmmaker’s video set

ZEISS Otus 1.4/100: a new addition to a filmmaker’s video set

With the introduction of the ZEISS Otus 1.4/100, the Otus Video set from ZEISS has now a choice of four focal lengths, 28, 55, 85 and 100mm, all…

NAB 2019: Things ‘n’ Stuff

NAB 2019: Things ‘n’ Stuff

In recent NABs, the back end of Central Hall was filled with LED luminaires from a vast number of companies, all showing various interpretations of “daylight” or &#8220…

Three lenses: a look at bokeh, depth of field and geometry

Three lenses: a look at bokeh, depth of field and geometry

Some people take time off during the holidays. I borrow a half million dollars worth of camera and lenses and shoot whatever comes to mind. It’s a sickness…

Lens dynamic range: coatings, contrast and color

Lens dynamic range: coatings, contrast and color

There was a time in the distant past when I thought of lenses as transparent glass. Film and digital sensors have dynamic range, but lenses are merely optics. Right? Wrong…

Lens coverage, sensor size, and pushing the limits

Lens coverage, sensor size, and pushing the limits

Sensors and lenses don’t always get along. In the HDR and UHD world, it’s important to test, test, test. Recently I shot a diffraction test meant…

Signature Primes vs. Ultra Primes: The Pixel-Peeper’s Guide

Signature Primes vs. Ultra Primes: The Pixel-Peeper’s Guide

For nine months I’ve been working periodically as a trainer for the ARRI Academy. Recently we added an Alexa LF to the class, accompanied by a set of…

Casting the look of a camera into glass

Casting the look of a camera into glass

Recently I had the pleasure of meeting with ARRI’s senior color designer, and I asked him the question I like to ask all camera manufacturers: “Why?&#8221…

Large sensor lens coverage: taking old glass to the “breaking” point

Large sensor lens coverage: taking old glass to the “breaking” point

 Old glass and large sensors need a lot of testing. The results may surprise you. In this article I took a look at how older S35 lenses performed on a…

Speed lighting: more lessons from the ARRI Academy

Speed lighting: more lessons from the ARRI Academy

The ARRI Academy isn’t only about learning how cameras work. We also teach how to use them. I’ve never seen a class as motivated as the…

Cine Gear Expo L.A. 2018

Cine Gear Expo L.A. 2018

Cine Gear Expo Los Angeles ran May 31 – June 3, with exhibits June 1 – 2. The show occupied two soundstages, the “New York streets” outdoor set, and the…

The large format look, continued: shallow focus and stressing old lenses

The large format look, continued: shallow focus and stressing old lenses

I’ve been getting some play time with RED’s new Weapon camera with a Monstro sensor at Videofax in San Francisco. Jim Rolin, one of Videofax’s owners and…

Current thoughts on current lenses

Current thoughts on current lenses

Near perfect lenses are easy to find these days. The problem is… I don’t want them. I want lenses with character. A while back I wrote this…

Affordable-ish Pro Cine Prime Lenses

Affordable-ish Pro Cine Prime Lenses

Ten years ago if you were “indie”, you kludged together some fast still prime lenses for your cinema camera package. You’d stick them on your DSLR with the…