Lenses you'd rent for a feature?
- Thread starter Azmyth
- Start date
deltoidjohn
Veteran
It's not so much about getting the most 'cinematic look', but about streamlining your workflow when it comes to renting cinema lenses for a feature film.
Any set of modern high-range lenses (Nikon, Canon L's, Ziess ZE, Simga EX, etc) will deliver good enough image quality and a fairly consistant picture across the set when working with DSLR's. However, by choosing to go with something like the Ziess Cine Primes, you get a lot more than just a great picture - you get matching dimensions for all lenses, so you can use the same filter size on all lenses, use the same follow focus gears/rings, and you'll never need to readjust your matte-box. You also get matching T-stops (F-stops adjusted to take light transmission into account), so aperture on any one lens gives exactly the same light transmission as on the others in the set - great for getting perfectly matched exposure when changing lenses. Plus there's the longer focus throw, stepless aperture ring, focus markings, etc, etc.
For day to day work this might not seem like a massive deal, but on a feature film set, where you might have several different DP's and AC's and focus pullers working rostered shifts over several months, it suddenly becomes very important. It means that you don't need to teach 5 different guys the nuances of each lens ("this one has a much shorter focus throw so you need to be very precise") which saves a lot of time on set. You have continuity, consistancy and familiarity from lens to lens which equals faster set-up times, less hassles, and no time wasted when changing lenses.
Any set of modern high-range lenses (Nikon, Canon L's, Ziess ZE, Simga EX, etc) will deliver good enough image quality and a fairly consistant picture across the set when working with DSLR's. However, by choosing to go with something like the Ziess Cine Primes, you get a lot more than just a great picture - you get matching dimensions for all lenses, so you can use the same filter size on all lenses, use the same follow focus gears/rings, and you'll never need to readjust your matte-box. You also get matching T-stops (F-stops adjusted to take light transmission into account), so aperture on any one lens gives exactly the same light transmission as on the others in the set - great for getting perfectly matched exposure when changing lenses. Plus there's the longer focus throw, stepless aperture ring, focus markings, etc, etc.
For day to day work this might not seem like a massive deal, but on a feature film set, where you might have several different DP's and AC's and focus pullers working rostered shifts over several months, it suddenly becomes very important. It means that you don't need to teach 5 different guys the nuances of each lens ("this one has a much shorter focus throw so you need to be very precise") which saves a lot of time on set. You have continuity, consistancy and familiarity from lens to lens which equals faster set-up times, less hassles, and no time wasted when changing lenses.
steventimothy
Well-known member
Talk to your camera department to see what they want. If your focus puller is good, having a couple of cinema lenses could do wonders for your production value.
If your camera department is you and your film school buddy, it's still shockingly affordable to rent 3-4 Canon L-primes, and then just learn how to focus them quickly and accurately. A follow focus, loupe, and a decent monitor would be a minimum after that. Spend a solid week practicing with those lenses before shooting, and you're good to go.
If your camera department is you and your film school buddy, it's still shockingly affordable to rent 3-4 Canon L-primes, and then just learn how to focus them quickly and accurately. A follow focus, loupe, and a decent monitor would be a minimum after that. Spend a solid week practicing with those lenses before shooting, and you're good to go.
Paul Hudson
Vacuum Tube Member
EOS Zeiss Compact Primes will give you the most bang for your buck. IMO.
At the DV Expo a couple weeks ago I was able
to snap on a Schneider Optics Cine-Xenar II 2.1/35mm,
$6,600, on my T3i. That was kinda cool.
https://www.schneideroptics.com/ecommerce/CatalogItemDetail.aspx?CID=1725&IID=8254
to snap on a Schneider Optics Cine-Xenar II 2.1/35mm,
$6,600, on my T3i. That was kinda cool.
https://www.schneideroptics.com/ecommerce/CatalogItemDetail.aspx?CID=1725&IID=8254
TooTallTim
Well-known member
This, budget permitting. If you really don't have a lot of cash, renting Nikon AI primes will give you a very cinematic feel for much less. Lots of rental houses have a full set of these geared up already.
GanEdenVideo
Carbonite Member
How was it? Any video of it?