A completely useless bit of trivia for you is that the “E” in E-mount stands for eighteen. 18mm is the E-mount flange back distance. That’s the distance between the sensor and the face of the lens mount. The fact the e-mount is only 18mm while most other DSLR systems have a flange back distance of around 40mm means thare are 20mm or more in hand that can be used for adapters to go between the camera body and 3rd party lenses with different mounts.
Here’s a little table of some common flange back distances:
I’ve been shooting with the Fujinon MK18-55mm lens on my PXW-FS7 and PXW-FS5 since the lens was launched. I absolutely love this lens, but one thing has frustrated me: I really wanted to be able to use it on my PMW-F5 to take advantage of the 16 bit raw. Finally my dreams have come true as both Duclos and MTF have started making alternate rear mounts for both the MK18-55mm and the MK50-135mm.
So, when Fujinon contacted me and asked if I would be interested in shooting a short film with these lenses on my F5 I jumped at the chance. The only catch was that this was just over a week ago and the video was wanted for IBC which means it needed to be ready yesterday. And of course it goes without saying that it has to look good – no pressure then!
First challenge – come up with something to shoot. Something that would show off the key features of these beautiful lenses – image quality, weight, macro etc. I toyed with hiring a model and travelling to the Irish or Welsh coast and filming along the cliffs and mountains. But it’s the summer holidays so there was a risk of not being able to get an isolated location all to ourselves, plus you never know what the weather is going to do. In addition there was no story, no beginning, middle or end and I really wanted to tell some kind of story rather than just a montage of pretty pictures.
So my next thought was to shoot an artist creating something. I spent a weekend googling various types of artistry until I settled on a blacksmith. The video was going to be shown in both SDR and HDR and fire always looks good in HDR. So after dozens of emails and telephone calls I found an amazing looking metalwork gallery and blacksmith that was willing for a reasonable fee to have me and another cameraman take over their workshop for a day (BIG thank you to Adam and Lucy at Fire and Iron check out their amazing works of art).
Normally I’d carry out a recce of a location before a shoot to take photos and figure out what kind of lights I would need as well as any other specialist or unusual equipment. But this time there simply wasn’t time. We would be shooting the same week and it was already a very busy week for me.
The next step before any shoot for me is some degree of planning. I like to have a concept for the video, at the very least some outline of the shots I need to tell the story, perhaps not a full storyboard, but at least some kind of structure. Once you have figured out the shots that you want to get you can then start to think about what kind of equipment you need to get those shots. In this case, as we would be shooting static works of art I felt that having ways to move the camera would really enhance the video. I have a small Jib as well as some track and a basic dolly that is substantial enough to take the weight of a fully configured PMW-F5 so these would be used for the shoot (I’m also now looking for a slider suitable for the F5/F55 that won’t break the bank, so let me know if you have any recommendations).
So the first items on my kit list after the camera and lenses (the lenses were fitted with Duclos FZ rear mounts) was the jib and dolly. To achieve a nice shallow depth of field I planned to shoot as close to the lenses largest aperture of T2.9 as possible. This presents 2 challenges. The F5’s internal ND filters go in 3 stop steps – that’s a big step and I don’t want to end up at T5.6 when really I want T2.9, so 1 stop and 2 stop ND filters and my gucchi wood finished Vocas matte box would be needed (the wood look does nothing to help the image quality, but it looks cool). Oh for the FS7 II’s variable ND filter in my F5!
The second problem of shooting everything at T2.9 with a super 35mm sensor is that focus would be critical and I was planning on swinging the camera on a jib. So I splashed out on a new remote follow focus from PDMovie as they are currently on offer in the UK. This is something I’ve been meaning to get for a while. As well as the remote follow focus I added my Alphatron ProPull follow focus to the kit list. The Fujinon MK lenses have integrated 0.8 pitch gears so using a follow focus is easy. I now wish that I had actually purchased the more expensive PDMovie follow focus kit that has 2 motors as this would allow me to electronically zoom the lens as well as focus it. Oh well, another thing to add to my wish list for the future.
One other nice feature of the Fujinon MK’s is that because they are parfocal you can zoom in to focus and then zoom out for the wider shot and be 100% sure that there is no focus shift and that the image will be tack sharp. Something you can’t do with DSLR lenses.
Lighting: This was a daylight shoot. Now I have to say that I am still a big fan of old school tungsten lighting. You don’t get any odd color casts, it gives great skin tones, it’s cheap and the variety and types of lamp available is vast. But as we all know it needs a lot of power and gets hot. Plus if you want to mix tungsten with daylight you have to use correction gels which makes the lights even less efficient. So for this shoot I packed my Light and Motion Stella lamps.
The Stellas are daylight balanced LED lamps with nice wide 120 degree beams. You can then use various modifiers to change this. I find the 25 degree fresnel and the Stella 5000 a particularly useful combination. This is the equivalent to a 650W tungsten lamp but without the heat. The fresnel lens really helps when lighting via a diffuser or bounce as it controls the spill levels making it easier to control the overall contrast in the shot. The Stella lights have built in batteries or can be run from the mains. They are also waterproof, so even if it rained I would be able to have lights outside the workshop shining in through the windows if needed.
I always carry a number of pop-up diffusers and reflectors of various sizes along with stands and arms specifically designed to hold them. These are cheap but incredibly useful. I find I end up using at least one of these on almost every shoot that I do. As well as a couple of black flags I also carry black drapes to place on the floor or hang from stands to reduce reflections and in effect absorb unwanted light.
To check my images on set I use an Atomos Shogun Flame. Rather than mounting it on the camera, for this shoot I decided to pack an extra heavy duty lighting stand to support the Shogun. This would allow my assistant to use the flame to check focus while I was swinging the jib. The HDR screen on the Shogun allows me to see a close approximation of how my footage will look after grading. It also has peaking and a zoom function to help with focussing which was going to be essential when the camera was up high on the jib and being focussed remotely. I also included a TV-Logic LUM171G which is a 17″ grading quality monitor with 4K inputs. The larger screen is useful for focus and it’s colour accuracy helpful for checking exposure etc.
For audio I packed my trusty UWP-D wireless mic kit and a pair of headphones. I also had a shotgun mic and XLR cable to record some atmos.
As well as all the larger items of kit there’s also all the small bits and bobs that help a shoot go smoothly. A couple of rolls of gaffer tape, crocodile clips, sharpies, spare batteries, extension cables etc. One thing I’ve found very useful is an equipment cart. I have a modiffied rock-n-roller cart with carpet covered shelves. Not only does this help move all the kit around but it also acts as a desk on location. This is really handy when swapping lenses or prepping the camera. It can save quite a bit of time when you have a mobile work area and somewhere you can put lenses and other frequently used bits of kit.
The day before the shoot I set everything up and tested everything. I checked the backfocus adjustment of the lenses. Checked the camera was working as expected and that I had the LUT’s I wanted loaded into both the camera and the Gratical viewfinder. With the camera on the jib I made sure I had the right weights and that everything was smooth. I also checked that my light meter was still calibrated against the camera and that the lens apertures matched what I was expecting (which they did perfectly). Color temperature and colorimetry was checked on the TVLogic monitor.
It’s worth periodically checking these things as there would be nothing worse than rocking up for the shoot only to find the camera wasn’t performing as expected. If you rent a cinema camera package from a major rental house it would be normal to set the camera up on a test bench to check it over before taking it away. But it’s easy to get lazy if it’s your own kit and just assume it’s all OK. A full test like this before an important shoot is well worth doing and it gives you a chance to set everything up exactly as it will be on the shoot saving time and stress at the beginning of the shoot day.
On the morning of the shoot I loaded up the car. I drive a people carrier (minivan to my friends in the USA). Once you start including things like a jib, track and dolly, equipment cart, 6x tungsten lights, 4 x LED lights, plus camera, tripods (including a very heavy duty one for the jib) the car soon fills up. A conventional saloon would not be big enough! One word of caution. I was involved in a car crash many years ago when the car rolled over. I had camera kit in the back of the car and the heavy flight cases did a lot of damage crashing around inside the car. If you do carry heavy kit in the car make sure it’s loaded low down below the tops of the seats. You don’t want everything flying forwards and hitting you on the back of your head in a crash. Perhaps consider a robust steel grill to put between the cargo compartment and the passenger compartment.
On arrival at the location, while it’s very tempting to immediately start unloading and setting up, I like to take a bit of a break and have a tea or coffee first. I use this time to chat with the client or the rest of the crew to make sure everyone knows what’s planned for the day. Taking a few minutes to do this can save a lot of time later and it helps everyone to relax a little before what could be a busy and stressful day.
Now it’s time to unpack and setup. I find it’s better to unpack all the gear at this time rather than stopping and starting throughout the day to unpack new bits of kit. Going to the car, unlocking, unpacking, locking, back to the set etc wastes time. This is where the equipment cart can be a big help as you can load up the cart with all those bits and pieces you “might” need… and inevitably do need.
The blacksmiths workshop was a dark space about 6m x 5m with black walls, open on one side to the outside world. Blacksmiths forges (so I learnt) are dark so that the blacksmith can see the glow of the metal as it heats up to gauge it’s temperature. On the one hand this was great – huge amounts of relatively soft light coming from one direction. On the other hand the dark side was very dark which would really push the camera and lenses due to the extreme contrast this would create.
We set the jib up inside the workshop to shoot the various processes used by a blacksmith when working with iron and steel. Apparently there are only 7 different processes and anything a blacksmith does will use just these 7 processes or variations of them.
Most of the shots done on the jib would be shot using the Fujinon MK18-55mm, so that’s the lens we started with. For protection from flying sparks a clear glass filter was fitted to the lens. While the finished film would be a 24p film, most of the filming was 4K DCI at 60fps recording to 16 bit raw. This would give me the option to slow down footage to 24p in post if I wanted a bit of slow motion.
When we did need to do a lens swap it was really easy. The Vocas matte box I have is a swing-away matte box. So by releasing a lever on the bottom of the matte box it swings out of the way of the lens without having to remove it from the rods. Then I can remove the lens and swap it to the other lens. The MK50-135mm is the same size as the MK18-55mm. The pitch gears are also in the same place. So swapping lenses is super fast as the follow focus or any focus motors don’t need to be re-positioned and the matte box just swings back to exactly the same position on the lens. It’s things like this that really separate pro cinema lenses from DSLR and photography lenses.
For exposure I used the cameras built in LUT’s and the 709(800) LUT. I set the camera to 800EI. I used a grey card to establish a base exposure, exposing the grey card at 43% (measuring the 709 level). I used a Zacuto Gratical viewfinder which has a great built in waveform display, much better than the one in the camera. I also double checked my light levels with a light meter. I don’t feel that it’s essential to use a light meter but it’s a useful safety net. The light meter is also handy for measuring contrast ratios across faces etc but again if you have a decent waveform display you don’t have to have a light meter.
For the next 3 hours we shot the various processes seen in the video. Trying to get a variety of different shot. But when each process is quite similar, usually involving the anvil and a large hammer it was difficult to come up with shots that looked different.
In the afternoon we set up to shoot the interview sequence. The reason for doing this was to not only provide the narrative for the film but also to help show how the lenses reproduce skin tones. The Fujinon MK series lenses are what I would describe as “well rounded”. That is, not too sharp but not soft either. They produce beautifully crisp pictures without the pictures looking artificially sharp and this really helps when shooting people and faces. They just look really nice.
For the interview shot I used one of the Stella 5000 lights with the 25 degree fresnel lens aimed through a 1m wide diffuser to add a little extra light to supplement the daylight. This allowed me to get some nice contrast across the blacksmiths face and nice “catch light” highlights in his eyes. In addition the little bit of extra light on his face meant that the back wall of the forge would appear just that bit darker due to the increased contrast between his face and the back wall. This is why we light…. not just to ensure enough light to shoot with, I had plenty of light, if I remember right I had a 1 stop ND in the matte box. But to create contrast, it’s the contrast that gives the image depth, it’s contrast that makes an image look interesting.
The final stage was to shoot the treasure chest and ornate jars that would show off the the lenses macro and close up performance. The treasure chest is a truly amazing thing. It weighs around 80kg. The locking mechanism is quite fascinating and I still struggle to believe that it was all hand made. The small metal jars are made out of folded and welded steel. It’s the folds in the metal that create the patterns that you see.
Once again we used the jib to add motion to the shots. I also used the macro function of both the MK18-55mm and MK50-135mm lenses. This function allows you to get within inches of the object that you are shooting. It’s a great feature to have and it really adds to the versatility of these lenses.
We wrapped at 7pm. Time to pack away the kit. It’s really important not to rush at this stage. Like everyone else I want to get home as quick as I can. But it’s important to pack your kit carefully and properly. There is nothing more annoying than when you start prepping for the next shoot finding that something has been broken or is missing because you rushed to pack up at the end of the previous shoot. Once you have packed everything away don’t forget to do that last walk through all the locations you’ve shot in to make sure you haven’t forgotten something.
I shot a little over hour of material. As it was mostly 60p 4K raw that came to about 1.5TB This was backed up on site using a Nexto-DI NSB25 which is a stand alone device that makes 2 verified copies of everything on 2 different hard drives. The film was edited using Adobe Premiere CC which handles Sony’s raw very easily. Grading was completed using DaVinci Resolve. I spent 2 days editing and a day grading the first version of the film. Then I spent another day re-grading it for HDR and producing the different versions that would be needed. All in, including coming up with the concept, finding the location, prepping, shooting and post took it took about 7 to 8 full work days to put this simple 4 minute film together.
Prepping my camera today for a shoot tomorrow. I’ll be shooting with the Fujinon MK18-55mm and MK50-135mm lenses fitted with Duclos FZ mount adapters. I’ve been using the MK18-55mm on my FS7 and FS5 for some time and I have to say I really love this lens. It produces beautiful images with silky smooth bokeh, it’s parfocal and it covers a very hand range of focal lengths. I’ve been wanting to use this lens on my F5 for some time and now at last I can. These lenses work great on the F5 and F55. They are very light compared to most PL lenses and this really helps with the cameras balance, especially if shooting handheld. They are also very cost effective.
The light lens weight means I need less weight on my jib than I would have with most similar PL zoom lenses. Also being nice and fast at T2.9 I know I can get great shallow DoF. Tomorrow I’m going to be shooting 2 amazing artists that create incredibly detailed things out of large lumps of iron and steel. I’ll be shooting examples of some of the finest works of metallic art along with all the key parts of the process of creating them. There will be beauty, iron, steel, heat, flames and sparks. I’ll try to post pictures from the shoot over the weekend and once the video is done it will be online for all to enjoy.
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.
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.
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.
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.
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.
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.
The new $400 Metabones EF to E-Mount smart adapter allows you to use Canon EF mount lenses on almost any camera with an E-Mount. So that means cameras like the FS100, VG10, VG20 and the NEX series stills cameras. I’ve been trying to get hold of one of these for some time, but they have always been out of stock due to popular demand. However I was lucky enough to track one down from a UK dealer a couple of weeks ago. It is a small compact device, there are no wires, cables or remote control boxes so it couldn’t be simpler to use. Simply attach it to the Sony E-Mount and then attach your Canon EF lenses to the adapter. The camera will then control the iris just as it would with a Sony lens. So in the case of a FS100 or FS700 the iris wheel will control the iris with an accurate display of the iris setting on the cameras LCD screen. You can also use the auto iris functions. For quick focus checks there is a small button on the barrel of the adapter that momentarily fully opens the iris so you have minimum depth of field, which makes it easier to see if you are in focus. The adapter doesn’t work with auto focus so no focus functions, but it does allow any image stabilisation built into the lens to work. It works with the vast majority of lenses although there are a few that don’t work or have some limitations, best to check the Metabones web site for details. I really like this adapter for it’s simplicity and transparent operation, you really don’t know it’s there. Just wish they could do one for the Sony F3.
Coming Soon: A review of the new Transvideo PMW-F3 base plate that completely replaces the underside of the F3 with a really nice bottom end and of course the Alphatron EVF-035W review.
Camera setup, reviews, tutorials and information for pro camcorder users from Alister Chapman.