Category Archives: lenses

Fujinon MK18-55mm t2.9 E-Mount zoom lens.

Fujinon have a long history of producing excellent lenses. When I used to shoot motorsports, windsurfing and TV news I used to use Fujinon lenses on my 2/3″ Betacam, Digibeta and DVCAM camcorders. I still have a Fujinon remote zoom demand sitting in the cupboard. Today Fujinon still produce high quality lenses for broadcast cameras.

fujinon-tv-zoom-1024x683 Fujinon MK18-55mm t2.9 E-Mount zoom lens.

But Fujinon don’t just make lenses for broadcast cameras, they also make PL mount lenses for use with super 35mm cameras. Perhaps their best known cinema lenses are their “Cabrio” zoom lenses. When it was introduced the 19-90mm T2.9mm Cabrio was ground breaking as it offered a silky smooth zoom servo with an ENG style handgrip on a compact zoom lens.

fujinon_19_90mm_t2_9_cabrio_pl_895225-1024x1024 Fujinon MK18-55mm t2.9 E-Mount zoom lens.
The Fujinon Cabrio 19-90mm cinema zoom. A lens I’ve always enjoyed using and would love to own.

The 19-90 Cabrio was the workhorse servo zoom that many F5/F55, Red and Arri users had been wanting for a long time. I’ve used the Cabrio’s and they are great lenses, I’d love to own one, but my budget just won’t stretch that far. The 19-90 costs around $40K but it is a beautiful lens.

Aware of the demand for a similar lens at a lower cost, last year Fujinon introduced a more affordable 20-120mm T3.5 lens. However even though much cheaper, at £13.5K/$16K it is still quite an expensive lens, especially when you consider that a camera like the Sony FS7 only costs £6k/$8K.

FujifilmXK20-120-Leftftd-1400x739-1024x541 Fujinon MK18-55mm t2.9 E-Mount zoom lens.
The Fujinon XK20-120 cinema zoom. A servo unit can be added to turn it into a servo zoom.

That brings us to today. Fujinon have developed a pair of new lenses specifically for E-Mount cameras. An 18-55 and a 55-135. The 55-135 isn’t ready just yet but the wider one, the MK18-55 is, and I’ve been lucky enough to have been loaned one to test.

AJC03759-1024x683 Fujinon MK18-55mm t2.9 E-Mount zoom lens.
The new Fujinon MK18-55 E-Mount zoom lens.

As you can see the lens looks very similar to the more expensive XK20-120, but it’s actually a bit smaller and a lot lighter. The lens is an 18-55mm T2.9 (f2.8) Parfocal zoom. Parfocal means that the focus does not shift as you zoom as happens with most DSLR lenses. It’s E-Mount only, so you can’t use it on a Canon camera, but you can put it straight on to a FS5, FS7, even an A7S/A7R (The lens is designed for s35/APS-C so you need to use crop sensor mode or clear image zoom on a full frame sensor). No adapters needed! It’s a manual lens, no autofocus and there isn’t a zoom servo. But what you do get is beautiful image quality!

AJC03771-1024x683 Fujinon MK18-55mm t2.9 E-Mount zoom lens.
The MK18-55 T2.9 on my FS7

The short back focus distance of E-Mount compared to PL or EF makes it easier to produce an affordable high quality zoom lens, that’s why this lens is E-Mount only. To ensure that the lens remains parfocal on different cameras it has a backfocus adjustment ring. This ring also functions as a macro focus ring by pressing a small button. This allows you to focus on objects around 1ft/38cm from the lens. When not using macro the minimum focus distance is 0.85m/2ft9″.

macro1-1024x576 Fujinon MK18-55mm t2.9 E-Mount zoom lens.
The MK18-55’s macro function allows you to get very close to the subject. Click on the image for the full resolution frame grab.
dog-cu-1024x576 Fujinon MK18-55mm t2.9 E-Mount zoom lens.
Frame grab from the MK18-55mm Fujinon lens. Click on the image for the full resolution frame grab.

The iris is a 9 blade iris with curved blades that produces a pleasing bokeh both inside and outside of focus.

hedge1-1024x576 Fujinon MK18-55mm t2.9 E-Mount zoom lens.
Near and Far bokeh is pleasing thanks to a 9 blade iris. Click on the image for the full resolution frame grab.

To keep the weight down a lot of the lens exterior is made from plastic. It is quite a long (in length) lens. If it was all metal it would make a light camera like the FS7 front heavy, so while perhaps it doesn’t have the tactile feel of a $40K Cabrio it also doesn’t have the weight, the 19-90 is almost 6lb/2.7kg, the MK18-80 is just 34.6ox/980g. However it does feel well made. The focus, zoom and iris rings all feel very smooth and have just the right amount of rotation resistance and damping.

The focus ring has around 180 degrees of travel and the focus markings (in both metric and imperial) are clear and easy to read. Each ring also has a 0.8mm pitch gear ring.

AJC03769-1024x683 Fujinon MK18-55mm t2.9 E-Mount zoom lens.
The MK18-55 with the supplied lens hood.

In use I found the lens a pleasure to use. I can perform nice smooth manual zooms with ease. It is easy to focus with just the right amount of focus travel, not too much not too little.  Focus breathing is very well controlled and quite minimal. It’s certainly one of the best lenses I’ve used at this price point. It feels and behaves like a proper cinema lens.

So what about the image quality? This lens does not disappoint. The images are sharp from edge to edge, corner to corner throughout the zoom range, even when wide open at T2.9. Contrast is good and even when shooting into the sun, flare is minimal. A square lens hood is provided with the lens that works well, but of course you can also use it with a matte box if you wish.

To me the images from this lens look closer to the ones I get from prime lenses than a zoom. I can see this lens being used instead of a set of primes for many productions and it certainly works out very cost effective compared to a set of decent prime lenses.

709-cu1-1024x576 Fujinon MK18-55mm t2.9 E-Mount zoom lens.
The Fujinon MK18-55 at 55mm. Click on the image for the full resolution frame grab.
709-wide-1024x576 Fujinon MK18-55mm t2.9 E-Mount zoom lens.
The Fujinon MK18-55 at 18mm. Click on the image for the full resolution frame grab.

Chromatic aberration is well controlled and minimal and I didn’t notice any significant colour cast or tint. The lens is also remarkably free from geometric distortions (unlike the  Sony 18-105 that is supplied as a kit lens with the FS5 that’s full of all kinds of distortions). There is a little, but it’s no worse than most other wide zoom lenses and nothing that I am concerned about.

into-sun-1024x576 Fujinon MK18-55mm t2.9 E-Mount zoom lens.
Even shooting into the sun flare is minimal and shadows remain dark. Click on the image for the full resolution frame grab.

While T2.9 isn’t super fast it is at least a stop faster than most (all?) of the other budget cinema zooms on the market. Plus it’s absolutely useable at T2.9 unlike some other lenses that go a little soft or become prone to flare when wide open. I’d be perfectly happy to shoot at T2.9 all day.

dog-by-fire-1024x576 Fujinon MK18-55mm t2.9 E-Mount zoom lens.
Wide open at t2.9 the MK18-55 still produces a nice sharp image. Click on the image for the full resolution frame grab.

So, in case you haven’t noticed yet I really like this lens. It may not have the zoom range of the new Sony 18-110, but it’s a stop faster. It may not have the ability to be used on different mounts like the Canon 18-80 t4.4 but again it’s faster and has a real manual focus ring with hard stops and repeatable calibration. The new Zeiss 21-100 t2.9/t3.9 is interesting, but more expensive and not as wide nor as fast. You should be able to buy both the 18-55 and the 50-135 for less than the Zeiss.

So, if you are in the market for a proper digital cinema lens for your FS5 or FS7 do take a close look at the Fujinon MK18-55. I hope to get a chance to shoot some more interesting footage with this lens very soon and share it with you.

UPDATE: I should have anticipated this, I’ve been asked this many times today already. Given that the new Sony 18-110 f4 and the MK18-55mm are similar prices, which one would I choose?

I would probably choose the Fujinon, but my needs are not necessarily the same as others. Very often if I need a zoom lens I need a very big zoom range. For my storm chasing I use a Tamron 16-300mm dslr lens, I need a BIG zoom range. It’s a compromise, I know I can get better image quality with primes or a shorter zoom, but I often need to go from super wide to super long and the Tamron 19x 16-300mm zoom fits the bill.  For run and gun handheld work I actually quite like the cheaper Sony 18-105mm. Sure the focus is a bit wonky and it has a lot of different geometric distortions, but it’s really small, very light and the autofocus works OK. It does the job I need of it.

Currently I own various prime lenses. I also have the Sigma 18-35mm f1.8 which I rate highly. For a drama or documentary shoot with my FS7 right now I would probably pack my 18-35mm Sigma, 20mm Sigma, my 14, 35, 55 and 85mm Samyangs plus the 16-300mm Tamron. I could see the Fujinon 18-55mm replacing ALL of the lenses below the 85mm Samyang, except perhaps the 14mm. So instead of carrying 4 lenses, I only need to take one and achieve the same kind of image quality (the Samyangs are T1.4, but normally I stop them down to T2 -T2.8 as they are a bit soft wide open). I will have less breathing, plus I can zoom during the shot. In addition I’m getting near prime lens quality without the need to keep swapping lenses when I need a different focal length.

The Fujinon is light and compact a big bonus when travelling. Once the MK50-135mm becomes available the pair would cover the majority of drama or short film focal lengths. Just 2 light and compact lenses. For me the Sony at f4 just isn’t quite fast enough for film style productions – great for run and gun and general purpose shoots but it’s not really the lens I want.

The only question that remains is what should I get for my F5 with it’s PL/FZ mount? If only the MK18-55mm would fit the F5. Have to save my pennies for the Fujinon XK6x20 20-120mm.

 

The new Sony FS7 zoom lens, the Sony SELP18110G.

AJC03714-1024x681 The new Sony FS7 zoom lens, the Sony SELP18110G.
Sony SELP18110G servo zoom lens.

When Sony launched the FS7 II they also launched a new lens to go along with it. The previous zoom lens that was bundled with the FS7 was the SELP28135G, a 28-135mm f4 zoom lens that would work with Super 35mm, APS-C and full frame cameras. While generally well received this lens is not without it’s problems. For a start it’s not really wide enough for use as a general purpose lens on an APS-C or Super 35mm sensor. The other problem is that the zoom is very slow. Even when set to manual zooming in and out takes a long time. You turn the zoom ring and then have to wait for the lens to catch up.

The new lens is a wider 18mm to 110mm f4 lens. This is a really useful zoom range for a Super 35mm camera. But the new lens can only be used on S35mm and APS-C cameras. It can’t be used with full frame cameras like the A7s in full frame mode.

AJC03718-1024x681 The new Sony FS7 zoom lens, the Sony SELP18110G.
The front element of the Sony SELP18110G.

But what about the zoom speed? Well this has been addressed too. On the 28-135mm lens the zoom function is electronic. There is no mechanical connection between the zoom ring and the optics of the lens. The 18-110 has a proper mechanical connection between the zoom ring and the internal lenses, so now you can crash zoom in and out as fast as you want. In addition the zoom servo motor is much faster and motorised zooms take place much more rapidly. One downside to this is that it’s a bit harder to control the zoom speed. You can do slow creeping zooms if you are very careful with the cameras zoom rocker, but it’s hard to do. The difference in pressure on the zoom rocker between creeping zoom and medium speed is tiny. The lens tended to change zoom speed quite quickly. While it is indeed very nice to have a variable speed motorised zoom, don’t expect the fine degree of control that you get from admittedly more expensive traditional ENG lenses. Lets face it this lens is only around £3K/$5K which is remarkable cheap for a parfocal s35mm zoom. Take a look at the video below for an idea of the zoom speeds etc.

Is it really parfocal? Well yes, it does seem to be parfocal. I only had the lens for a morning to play with, but in all my tests the focus remained constant throughout the zoom range.

So, what about focus? Like the 28-135mm lens there is a nice big focus ring that slides fore and aft.

AJC03723-e1487017741838 The new Sony FS7 zoom lens, the Sony SELP18110G.
Focus, zoom and iris rings on the SELP18110G.

In the rear position the focus is manual and there are calibrated focus markings and end stops. You get about 180 degrees of focus travel from 0.95m (3.1ft) to infinity (in autofocus you can focus slightly closer when the lens is at the wide end). The focus ring has 0.8mm pitch teeth for use with most standard follow focus units, although this gear ring is very close to the end of the lens, so it may be tricky to use if you have a matte box in place. Breathing is very well controlled and barely noticeable unless going through very large focus throws. Out of focus Bokeh isn’t bad either, I didn’t observe any nasty surprises in the limited time I had to play with the lens.

Bokeh-1024x576 The new Sony FS7 zoom lens, the Sony SELP18110G.
Frame Grab. Near and far out of focus bokeh is reasonable on the Sony SELP18110G. Click on the image to view a full size copy.

Sharpness and flare. The lens appears to be nice and sharp at the wide end but just a touch soft at the long end. It’s not bad overall but when shooting at 4K I could just about detect the lens becoming marginally softer as I zoomed in. The sample I had was a well used pre-production prototype, but I’m going to guess that the production lenses won’t be hugely different. Shooting the roof of a house against a bright sky revealed only a small amount of flare, certainly nothing out of the unusual for a zoom lens.

18110-110-1024x576 The new Sony FS7 zoom lens, the Sony SELP18110G.
Frame grab from the Sony SELP18110G at 110mm. Click on the image to view a full size copy.
18110-18-1024x576 The new Sony FS7 zoom lens, the Sony SELP18110G.
Frame grab shot with Sony SELP18110G at 18mm. Click on the image to view the full size image.

Overall I really like this lens. It even has a support point at the front of the lens body for additional stability. While f4 isn’t the largest of apertures it is quite usable and even wide open the lens performs well. For the money it is a lot of lens. I think we need to be realistic with our expectations for zoom lenses and large sensors. Bigger zoom ratios require bigger lens elements if we want to maintain a constant aperture. Bigger lens elements cost more to produce.

AJC03729-e1487018834354 The new Sony FS7 zoom lens, the Sony SELP18110G.
Underside of the Sony SELP18110G showing the extra lens support points. A lens foot that attaches to the rear mounting is included with the lens.

One advantage Sony have over the competition is that it’s easier to make zoom lenses for the very short flange back distance of the E-Mount cameras compared to the deeper flange back of PL or Canon mounts. The closest competition to this lens is the Canon 18-80mm T4.4 (f4 ish) which is a fair bit more expensive (£4K/$6K). If you want a similar zoom range then you’re looking at the beautiful  Fujinon 20-120 T3.4 at around £14K/$19K.

Norway and the Northern Lights Video Blogs.

I produced 3 video blogs during my trip to Norway to shoot the northern lights. These blogs are now on youtube for you to watch. In the first video I take a look at some of the equipment that I took to Norway for the trip. I also look at how I like to lay everything out before I pack it and give some insight into some of the accessories that I like to take.

The second video looks back at the first week of the trip. You will see examples of the weather we had to deal with as well as some information on how some of the time lapse sequences of the aurora were shot.

The third video is about shooting a sunrise with 3 different cameras. The Sony a6300, FDR-AX3000 Action Cam and the PXW-FS5.
Packing for the shoot.

At the bottom of the page you’ll find a quick cut of a small selection of some of the Aurora footage shot on this trip.

Review of the first week in Norway.

Shooting a sunrise with 3 different cameras.

Quick sample of some of the Aurora footage:

Why Do We Need To Light?

Lets face it cameras are becoming more and more sensitive. We no longer need the kinds of light levels that we once used to need. So why is lighting still so incredibly important. Why do we light?

Starting at a most basic level, there are two reason for lighting a scene. The first and perhaps most obvious is to add enough light for the camera to be able to “see” the scene, to get an adequate exposure. The other reason we need to light, the creative reason why we need to light is to create shadows.

It is not the light in a scene that makes it look interesting, it is the shadows. It is the contrast between light and dark that makes an image intriguing to our eyes and brain. Shadows add depth, they can be used to add a sense of mystery or draw the viewers gaze to the brighter parts of the scene. Without shadows, without contrast most scenes will be visually uninteresting.

Take a typical daytime TV show. Perhaps a game show. Look at how it has been lit. In almost every case it will have been lit to provide a uniform and even light level across the entire set. It will be bright so that the cameras can use a reasonable aperture for a deep depth of field. This helps the camera operators keep everything focus. The flat, uniform light means that the stars or contestants can go anywhere in the set and still look OK. This is lighting for exposure, where the prime driver is a well exposed image.  The majority of the light will be coming from the camera side of the set or from above the set with all the light flooding inwards into the set.

eggheadsteam-e1479407949570 Why Do We Need To Light?
Typical TV lighting, flat, very few shadows, light coming from the camera side of the set or above the set.

Then look at a well made movie. The lighting will be very different. Often the main source of light will be coming from the side or possibly even the rear of the scene. This creates dark shadows on the opposite side of the set/scene. It will cast deep shadows across faces and it’s often the shadow side of a face that is more interesting than the bright side.

blade-runner1 Why Do We Need To Light?
Striking example of light coming from opposite the camera to create deep shadows – Bladerunner.

A lot of movie lighting is done from diagonally opposite the cameras to create very deep shadows on faces and to keep the background of the shot dark. If, as is typical in TV production your lights are placed where the cameras are and pointed into the set, then all the light will go into set and illuminate the set from front to back. If your lights are towards the side or rear of the set and are facing towards the cameras the light will be falling out of and away from the set rather than into the set. This means you can then keep the rear of the set dark much more easily. Having the main light source opposite the camera is also why you see far more lens flare effects in movies compared to TV as the light is often shining into the camera lens.

960_1 Why Do We Need To Light?
Another example of the main light sources coming towards the camera. The assassination of Jesse James by the coward Robert Ford.

If you are shooting a night scene and you want to get nice clean pictures from your camera then contrast becomes key. When we think of what things look like at night we automatically think “dark”. But cameras don’t like darkness, they like light, even the modern super sensitive cameras still work better when there is a a decent amount of light. So one of the keys to a great looking night scene is to light the foreground faces of your cast well but keep the background very dark. You expose the camera for the bright foreground (which means you should not have any noise problems) and then rely on the fact that the background is dark to make the scene look like a night scene.  Again the reason to light is for better shadows, to make the darker parts of the scene appear very dark relative to the foreground and a high level of contrast will make it look like night. Consider a bright moonlit night, faces will be bright compared to everything else.

sam-shepard-jesse-james-e1479407719922 Why Do We Need To Light?
A well lit face against a very dark background means low noise night shot. Another example from The assassination of Jesse James by the coward Robert Ford.

So in cinematography, very often the reason to add light is to create shadows and contrast rather than to simply raise the overall light level. To make this easier we need to think about reflections and how the light that we are adding will bounce around the set and reduce the high contrast that we may be seeking. For this reason most film studios have black walls and floors. It’s amazing how much light bounces of the floor. Black drapes can be hung against walls or placed on the floor as “negative fill” to suck up any stray light. Black flags can be used to cut and control any undesired light output from your lamps and a black drape or flag placed on the shadow side of a face will often help increase the contrast across that face by reducing stray reflections. Flags are as important as lights if you want to control contrast. Barn doors on a lamp help, but if you really want to precisely cut a beam of light the flag will need to be closer to the subject.

I think most people that are new to lighting focus too much on the lights themselves and don’t spend enough time learning how to modify light with diffusers, reflectors and flags. Good video lights are expensive, but if you can’t control and modify that light you may as well just by a DIY floodlight from your local hardware store.

Also consider using fewer lights. More is not necessarily better. The more lights you add the more light sources you need to control and flag. The more light you will have bouncing around your set reducing your contrast and spilling into your otherwise nice shadows. More lights means multiple shadows going in different directions that you will have to deal with.  Instead of using lots of lights be more careful about where you place the lights you do have, make better use of diffusion perhaps by bringing it closer to your subject to get more light wrap around rather than using separate key and fill lights.

 

Image quality with B4 ENG lenses on large sensor cameras.

DSC02056 Image quality with B4 ENG lenses on large sensor cameras.
2/3″ B4 lens on the FS700via the MTF adapter.

This is something that comes up a lot and I get many questions about. In part because I designed the MTF B4 to Canon, FZ and E-Mount adapters. Budget adapters that allow you to use a 2/3″ B4 ENG lens on a Super 35mm sensor by using the lenses 2x extender or on a center crop sensor without the 2x.

The question is… what will the pictures look like?

The answer is… it depends on the lens.

Not a very helpful answer perhaps, but that’s the truth of it. Different lenses perform very differently. For a start I would say forget 4K. At best these lenses are suitable for HD and you want to have a great HD lens if you want good HD pictures.

But what about the “look” of the images? My experience is that if you put a wide range ENG zoom on a S35mm camera the look that you get can be best described as “2/3″ ENG look with maybe shallow depth of field”. Lets face it, ENG lenses are full of compromises. To get those great big zoom ranges with par-focal focus there are a lot of glass elements in those lenses. Lot’s of elements means lots of places where CA and flare can occur. The end result is often a lowering of contrast and color fringing on hard edges, the very same look that we are used to seeing on 2/3″ cameras.  Typical cine or DSLR lenses tend to have simpler optical designs. Prime lenses are normally sharper and show better contrast with less flare than zooms due to there simpler internal design.

So don’t expect to put a typical B4 ENG lens on your S35mm camcorder and still have that crisp, high contrast digital cinema look. Of course B4 zooms are handy for the ability to zoom in and out through huge ranges while holding focus. So an adapter and lens may well make your S35mm camera more versatile. But if you want the best possible images stick to cine style lenses, DSLR lenses or zooms designed for S35.

 

News From NAB 2016 – Firmware Update for 18-105mm Lens.

Sony have released a firmware update for the 18-105mm lens that is available as a package with the FS5. The update addresses some of the focus tracking issues that some lenses appear to have. To update the lens firmware you need to go to the support page of Sony consumer:  http://www.sony.co.uk/support/en/product/SELP18105G

and download the update package. You will need to have the lens mounted on a camera and the camera connected to a Mac or PC. Full install instructions are provided after you click on the Mac or PC download link buttons.

New Canon C300 and C300PL cameras and 4k lenses.

canon-c300-1024x560 New Canon C300 and C300PL  cameras and 4k lenses.
Canon C300 cameras and PL mount lenses

So, I might be a little late on this announcement as I’m currently working in Taiwan, but yesterday Canon released information on two new video cameras and 4 new zooms plus 3 cinematography prime lenses. The press information from Canon is below. Reading between the lines and picking out some of the key points this is a very significant announcement. The cameras have a new 8.29 mega pixel sensor recording to compact flash cards at 1920 x 1080, 4:2:2 at 50Mb/s. The sensor uses a bayer type pattern, but due to the very large pixel count it has a Red and Blue pixel  for each sample in the 1920×1080 frame as well as two Green pixels. This should lead to very good colorimetry, but is a little odd considering that the camera only has a single HDSDi output, which I assume would just be 1.5G 4:2:2, so much of the 4:4:4 data derived from the sensor goes to waste unless it can output 4:4:4 10 bit over HDMI. The higher pixel count and thus smaller pixels than F3/Alexa could have an impact on dynamic range sensitivity and noise, but until I see some raw footage or get my grubby hands on one, who knows? The Laforet video “Mobius” http://vimeo.com/30215350 has quite a “video” look to it, but that might just be the online compression. The camera has a built in Log Curve that is said to offer improved dynamic range. Clearly Canon have some of the F3 market in their sights.

There are HDMI and HDSDi outputs so recording to an external device to improve image quality should not be an issue, 8 bit, 4:2:2 is a bit of a shame on a camera with a sensor spec like this, at least it’s an improvement over the Sony F3’s 8 bit 4:2:0 at 35MB/s. If your going to use the Log curve then you defiantly want to record to a higher quality, preferably 10 bit codec (I am assuming the HDSDi output is 10 bit). UPDATE: I am reading many reports of the HDSDI out only being 8 bit. I hope this is not the case!!!

It does tick many professional feature boxes with XLR audio in, Genlock and even a sync output. This would make it well suited to 3D applications. It looks kind of like a DSLR and has a removable handgrip, a rear mounted EVF as well as a removable smallish LCD panel. One mistake I think Canon have made is that you have to choose between the EOS lens mount and PL mount versions of the camera. Why could they have not made a camera body with a removable mount that would allow you to choose between PL or DSLR glass without having to change the entire camera body, or use an EOS to PL lens adapter with it’s extra optical elements?

Still I do like the thought of a stripped down EOS mount version (C300) with a nice L series zoom on it for shooting on the road or covert filming. However even the use of the EOS mount is a little strange as there is no provision for Auto Focus or Auto Iris, something that you would have thought would be easy to implement. This is a fully manual camera.  I’d really like auto iris you know, if only for tricky time-lapse sequences. Iris control is on the camera body. According to Andy Shipsides of Abel Cine the iris steps slightly as you adjust it when using EOS lenses, what a shame. Makes PL sound like a better option for serious productions.

Having a s35mm sized sensor and the 50Mb/s 4:2:2 codec does meant that it ticks all of the BBC’s approval boxes, so you should be able to use it on most broadcast projects. But it is a strange beast on paper. A DSLR-ish form factor, EOS lens mount without focus or iris control, a 4:4:4 ready sensor but only 4:2:2 recording. Hmmm, you know what, I have to wonder if that sensor isn’t going to appear in another camera with RGB or Dual Link recording. Camera price is approx $20k USD, available in January.

As an F3 owner the new Canon PL mount lenses look ver interesting indeed. The 30-300mm T2.9 – T3.7 would be a great lens for shooting music concerts and other similar events, while the 14.5-60mm T2.5 would be a fantastic all round zoom covering the most commonly used focal lengths that I use.

Canon Press Release:

Lights! Camera! Action! Canon Launches Cinema EOS System

 

All-New Cinema Lens Line-up & Digital Video Camcorders to Leave No Story Untold

Canon today announced its full-fledged entry into the motion picture production industry with the launch of the Cinema EOS System. Canon’s new professional digital cinematography system spans the lens, digital video camcorder and digital SLR camera product categories.

 

The Cinema EOS System targets a new area of imaging and builds on a 74-year history of innovation and expertise in the field of optical and imaging technology.

 

The new Cinema EOS System, offers compatibility with Canon’s wide array of high-performance EF lenses, provides cinematographers with a range of unprecedented creative possibilities to ensure that no story is left untold.

 

With the debut of the Cinema EOS System, Canon today introduced seven new 4K EF Cinema Lenses, four zoom lenses and three single-focal-length models, which complement the current diverse line-up of interchangeable EF lenses for EOS SLR cameras.

 

4K EF Cinema Lens Line up

The seven new 4K EF Cinema Lens models include  four zoom lenses covering a wide zoom range from 14.5 mm to 300 mm, two models each for EF and PL lens mounts, and three single-focal-length lenses for EF mounts.   All seven new lenses deliver exceptional 4K (4096 x 2160 pixels) optical performance and offer compatibility with Super 35 mm-equivalent sensors.

 

EOS C300/C300 PL Interchangeable-Lens Digital Video Camcorder

The Canon EOS C300/C300 PL is an all new digital video camcorder available in two models: the EOS C300, equipped with an EF lens mount which is compatibility with the wide array of Canon EF interchangeable lenses; and the EOS C300 PL, offering a PL lens mount for use with industry-standard PL lenses. The camcorder features a Super 35 mm, 8.29-megapixel CMOS sensor ideally suited for digital cinematography. 

 

Cinema EOS System: Product Overview

7 New EF Cinema lenses:

CN-E14.5–60mm T2.6 L S – (EF Mount)

CN-E14.5–60mm T2.6 L SP – (PL Mount)

CN-E30–300mm T2.95–3.7 L S – (EF Mount)

CN-E30–300mm T2.95–3.7 L SP – (PL Mount)

CN-E24mm T1.5 L F – (EF Mount)  

CN-E50mm T1.3 L F – (EF Mount)

CN-E85mm T1.3 L F – (EF Mount)

 

2 New Digital Video Camcorders:

EOS C300 – (EF Mount)

EOSC300 PL – (PL Mount)


Using DSLR lenses on 3D rigs.

Just a quick note on a rather obscure subject. I do a lot of 3D work. Buying pairs of PL mount lenses for my F3’s is beyond my budget right now, so I hire in lenses when I need them. However for my own projects I use DSLR lenses, mainly Nikkors and Tokina’s. One thing that i have discovered is that many of the older manual Nikkors have a tendency to shift the image left and right when you focus. This then miss-aligns the rig. The more modern internal focussing lenses are much, much better in this respect with little or no shift at all. The only problem with the more modern IF lenses is that they often don’t have iris rings (so iris is adjusted with a MTF adapter) and the focus control often has a slipping clutch making repeatable focussing a little harder. So neither is perfect. For 3D applications I think the more modern IF lenses are preferable.

PMW-F3, Run “n” Gun, is it worth the effort?

For me early Summer means airshow season and there are a couple of events that I shoot every year. The first is Flying Legends at the Imperial War Museum site at Duxford and features vintage aircraft predominantly from the second world war. The following weekend is the Royal International Air Tattoo, one of the largest military air shows and is all about the latest fast jets and military hardware. For the last 3 years I have been tasked with shooting aircraft being prepared for flight at both shows and for this I have been using a variety of cameras, but almost always some kind of ENG type camera. I’ve used PDW700’s, EX1’s and EX3’s. This year however it was decided to try and use one of my PMW-F3’s in order to take advantage of the shallow Depth of Field and give the footage a higher quality, filmic look.

Of course using the F3 for a shoot like this brings many challenges and one of the reasons for using it on these projects was to discover exactly whether the trade off between ease of use and shallow DoF was worth it. Thankfully, producer Steve Connor (flying machinestv.co.uk) is willing to let me try new things on his productions.

So how was it? Well it was hard work compared to running around with an EX1 or EX3. You have to check, check and double check focus all the time and this slows you down a little. The other thing is the lens. A camera like the EX1 has a 14x zoom lens giving a great range of focal lengths from a good wide angle to a nice long telephoto. With the F3 your lens choices are currently much more limited. While there are some very nice zooms like the Optimo 24-290mm (12x zoom) these just are not practical for run n gun. The Optimo weighs a whopping 24lbs/11kg . The other alternative to PL lenses is to use a DSLR lens. One of my favourites is the old Tokina AT-X Pro 28-70mm as this does not telescope, has a nice big focus scale and proper iris ring, but it’s only a 2.5x wide zoom, not much use for longer shots. The upshot of all this is that you end up doing a lot of lens swaps going from a wide zoom to a longer one (Sigma 70-300mm in my case). In addition the DSLR zooms are varifocal so you can’t zoom during the shot as the focus will shift.

So… I’m running around with the F3 and a rucksack with a couple of lenses and my favourite Vinten 100 tripod, swapping lenses many times for different shots. There’s no one-push auto iris confidence check, no image stabiliser and the batteries don’t last as long. As I said, compared to an EX1 it was hard work. But, I was able to be creative. It was easy to introduce some nice foreground or background soft focus objects. To do gentle pull focuses and to generally get good looking shots as opposed to just getting ordinary looking shots.

When an aircraft is started things can get very busy. There are spinning propellors to be aware of, or dangerous jet blasts (not to mention the noise). Aircraft can taxi with no warning. At these moments I was able to stop down the iris a bit to give myself greater depth of field for a little bit focus tolerance. This is what I like about the F3. It’s got sensitivity to spare so you can pick and choose how much DoF you have.

By the time the second airshow (RIAT) came around I realised that constant lens swapping was costing me shots. So for RIAT I used a Nikon 18-135mm zoom. This 7.5x zoom gave a much better focal length range, but its a rather nasty lens in so much as it’s f3.5 – f5.6 so the aperture changes as you zoom and it’s not particularly fast. It also telescopes and extends a lot as you zoom in, so you can’t use it with a matt box. The focus ring has no scale and iris has to controlled using the MTF adapter iris control. So all in all not my favourite lens, but for this particular shoot it worked out quite well. One thing that did become apparent is that not having a super fast lens, on this particular type of project was not an issue. I could still get reasonable shallow DoF shots when wide and at f3.5. At longer focal lengths the DoF decreases anyway, so shooting at f4 or f5.6 still yields pleasing results.

The footage from the shoots does look good. It has a much nicer look to it than conventional ENG video. The shallow DoF adds a quality feel to the material. While I didn’t shoot as much as I would have done with a more traditional camcorder due to the extra time required for lens changes, focus checking and the need to use the tripod more often, what I did shoot looked better overall so a higher percentage of what I shot will probably make it into the final production.

So as for my original question.. was it worth the effort? Well I think the answer is yes. The F3 can be used for run n gun, but it’s hard work, however the results are worth the extra effort.

Adaptimax Lens Mount Adapters for PMW-F3, Canon and Nikon.

IMG_0648-300x224 Adaptimax Lens Mount Adapters for PMW-F3, Canon and Nikon.
Adaptimax F3 to Canon and Nikon lens mounts

I was sent a couple of Adaptimax lens mount adapters to test on my PMW-F3. I have used some of their EX3 adapters in the past and these worked very well. The new PMW-F3 adapters are finished with a very nice hard black anodised finish and look very smart indeed. I had 3 adapters to try, one F3 to Canon and two F3 to Nikon adapters. The Canon adapter is a “dumb” adapter, so there is no way to control the lenses iris. If your using Canon lenses this means using a DSLR body to set the iris before using the lens on the F3. Obviously this is not ideal, but you do have to consider that there is a massive range of lenses that can be used with this Canon adapter via a secondary adapter ring.

Canon’s flange back distance (the sensor to lens distance) is the shortest in the DSLR world. So this means that there is space to adapt to other lens mounts with longer flange back distances such as M42, Nikon, Pentax, Pentacon etc. This opens up a whole world of possibilities as now you can use those nice M42 Zeiss lenses that can be picked up cheap on ebay by adding a cheap M42 to Canon adapter.

IMG_0651-300x224 Adaptimax Lens Mount Adapters for PMW-F3, Canon and Nikon.
Nikon 50mm f1.8 with Adaptimax F3 Mount.

If you have already invested in Nikon fit glass then you can use a Nikon to Canon adapter or you can use one of Adaptimax’s purpose built F3 to Nikon adapters.

There are two varieties, the original Adaptimax and the Adaptimax Plus. The Plus version includes a long screw that pushes the iris pin on the rear of the lens to give you iris control even when the lens does not have an iris ring. While this is not as elegant as MTF Services rotating adapter barrel, it works fine and the simplicity of the design means the adapter is a little cheaper. The standard version has no iris control, so you need to ensure your lens has a proper iris ring. Priced at £255 for the standard adapters and £265 for the plus versions these are good value for money.