With the ever growing popularity of new and vintage photography SLR lenses being used for cinematic projects, the Cine-Mod®, popularized by Duclos Lenses back in the turn of the millennium, has become increasingly attractive to DIY users. Duclos Lenses recognized this trend and decided to bring a new product to market – Individual Grease Packs that can be used on an as-needed basis, at a fraction of the cost of more expensive German or Japanese greases. Designated: Dratsum 35, the new lubricant is the perfect material to give your project that cinematic feel it was missing. Continue reading “Individual Grease Packs for DIY Iris De-Clicking”
Zeiss recently released a technical article written by Dr. Vladan Blahnik. The article explores the history of Zeiss lenses and what drove them to design and manufacture more accurate, high speed lenses including the now famous f/0.7 50mm prime used by Stanley Kurbick to shoot Barry Lyndon. The article continues on to discuss the physics of a lens aperture and it’s relation to optics with a wealth of formulas and illustrations. If you’re a huge lens nut and have a spare 15 or 20 minutes, give this tech article a read and appreciate the knowledge and pursuit for optical performance that is Carl Zeiss.
Read the complete article here.
In a recent post I declared that it’s better to invest in glass than in cameras since new cameras come out every few months. I wasn’t just saying that to get people to buy glass, I meant it. Just this year there have been at least half a dozen cameras released or announced, if not more. With more cameras there comes more choices for lenses. Wether it’s a BlackMagic camera with it’s mighty little crop sensor or the new 5DMk14B-R whatevermagig. Lenses will always be required for cinema and in todays economy it’s all about compromise. So where do you compromise and what lenses make the most sense for you? Continue reading “More Lens Options Than Ever”
A perfect example of the versatility of the Zeiss ZF.2 series. This 85mm f1/.4 comes in a Nikon mount from the factory. With a few upgrades and modifications, it’s perfectly suited for motion picture use. I performed the standard three part Cine-Mod which includes an 80mm front ring (77mm filter thread), 32-pich (0.8 module) seamless focus gear, and of course the de-clicked, dampened aperture ring. In addition to the standard Cine-Mod, I also added one of our semi-permanent Canon Eos mounts. This mount conversion physically attaches to the body of the lens and essentially takes the place of the original Nikon mount, effectively making the Zeiss ZF.2 a native Canon Eos mount lens. An excellent mount modification for use on a 5D or 7D. I just happened to have received a Canon Eos mount for my FS100 that I thought I would try out with this lens and it worked great. There is a little bit of play between the mounts, but no more motion than I would expect from a Canon lens attached to a Canon camera. The focus and aperture movement on this lens are like soft butter, creamy smooth. With a Super 35mm sized sensor on the FS100, the bokeh from this f/1.4 85mm is simply dreamy. I love it! I’ll be shooting some test footage in the near future with a few different lens makes and models. I just need to find an interesting topic and create some decent content. I’m tired of test charts… 😉
I’ve been out of the office for over a week on holiday. My lady and I embarked on a road trip from Southern California to Oklahoma with stops along the way for sightseeing. Come Monday I’m back in the office with new goodies waiting for me from Zeiss. We ordered a replacement iris assembly for a Zeiss 12mm Ultra Prime. Such a nice lens. Anyway… Zeiss has a way of packaging their OEM parts in a way the excites me when opening them. All their cryptic scribbling and blue tape makes me happy. Everything is so clean and perfect. It’ll be nice to re-assmble this lens and make it new again.