andy lee

if you want to shoot some thing that looks like it has Hollywood movie 'field of views' just remember these 3 focal lengths 27mm for your wides 75mm for the close ups 40mm for the rest of the coverage all referanced to a 35mm motion picture camera or APSC or Micro 4/3 with a speedbooster you can shoot most of your movie on these 3 lenses - or use a 28-70mm zoom that covers almost them all (NIKON!!!) shoot at f2.8 - and off you go .......all else is irrelevant cross referancing to full frame and will just slow you down I ignore full frame totally as I just dont like the look of it.

I did like Gone Girl .but the last 45 mins where not good plot wise too unbelievable Camera by Jeff Crenenweth was very good , Im a big Fincher fan but its not his best film in my book!! my fave film of 2014 is A MOST WANTED MAN - by Anton Corbjin a super John Le Carrie spy thriller with the late great Philip Seymour Hoffman who is amazing in this his last film before he died. All shot by Benoit Delhomme on Arri Alexa with Zeiss Superspeed Lenses , alot of hand held camera like Bourne but without the crash zooms. Superb Grade too the film looks very nice alot of night street suff etc A great film go see!!

Interstellar was Nolan's first ever digital intermediate !! he's awayes done photochemical colour timing before......what next... Nolan shoot on an Arri Alexa......heaven forbid!!

get the Nikon 28-70mm f2.8 IF ED

The Nikon and Zeiss are very similar lenses optically both are warm and have strong blacks but the Zeiss 35-70mm is a push pull lens not as wide and slower too so you don't need it if you have a Nikon also I Prefer the Zeiss 28-70mm in c/y mount as its smaller wider and a two touch zoom but again the Nikon is better as its faster .at f5.6 both lenses have the same pop but at f2.8 the Nikon is king its great wide open and that's where I use it - on micro 4/3 on a lens turbo speed booster - that makes a big difference making it an f2 lens giving you a great look on micro 4/3 cameras that's very hard to beat in my book

those Kickstarter lenses look nice design wise - I wonder what the glass is like?

fixed Tiffen Nds are the best - thats all I ever use buy an ND 2 4 8 AND 16 and stack them to get the exposure you need Vari NDs produce horrid artifacts on your footage and colour shifts as they are in all just 2 polorisers working against each other..avoid!

I've been a Director and lighting DP for 25 years now shooting on film for 15 of that ! The first set of lenses I bought where Zeiss Super Speeds and Angenieux zooms.

I think the actual focal length of each lens used plays a very large part in the image , do I use the 27mm here or the 40mm or the 75mm and how and where you use it relative to the story . some DPs like Cooke some Leica and some Arri Master primes they all have their little points people like , I dont think the audience really sees or cares which is used at this level of hi end lens .......they just want a good movie !

Jeff Cronenweth used Leica Summilux's on Gone Girl , all his last films where on Arri Master Primes for Fincher Camtec rental house in LA did a great test earlier this year on Arri Master Primes, Leica Summilux and Cook s4 so you can see the differances have a look here http://www.filmanddigitaltimes.com/wp-content/uploads/2014/06/61FDTimesCamtec.pdf there is really not much between the Cooke s4s and the Leica's The ARRI master Primes have a bit more contrast in them they all do the job!!

no the older ones as sharp just alot less contrast - shades of grey not solid crushed blacks - and they flare very easliy Zeiss made the 50mm and 35mm the 28 was Rolleinair made

yes I have some Rollei QBMs some are made by Zeiss some by Rollenair the early ones are single coated and low contrast and flare like crazy - like a Helios tones of character the later ones have HFT coatings and are very similar to Zeiis T* coatings so very modern get the early ones

they are modern clinical lenses http://matthewduclos.wordpress.com/2013/02/26/duclos-lenses-introduces-rokinon%E2%80%A2raw-primes/ the fact that Matthew Dulocs is removing the coatings to give them more character speaks volumes!

Rich so its just dawned on me - doh !!!! 38mm is as good as 40mm - so your FF 38 WA is gonna pretty darn similar to a 40mm Super Baltar like Gordon Willis used to lens 90% of The Godfather........ thats a pretty good selling point for your lens!! I would really like to try one!!! purleeeese!!

Rich my other thought was B+L spherical projection lenses as I have a few of these off the back of B+L anamorphics - of that era must be a very similar optical formula - just no focus helicoid and iris? so has anyone on EOSHD got a Baltar and can do a shoot out with a Helios 58mm so we can see what the glass looks like ?????

thanks for that insite into Helios and Baltars Rich , so they are optically similar - ish lenses so Helios and your FF38 WA is the way to go then to get a Baltar look economically ! as I dont like throwing £££££ at old lenses all those films like Godfather shot on Baltars are pushing the slow film stock to its limit so they will be shooting wide open pushing the Baltar to its limits too. A Helios WO at f2 has got to be similar - ish!! I got my first Helios in 1979 on a Zenit TTL and I still have it its almost mint , I still use it

we should buy one an EOSHD work horse !!

its a superb camera - but the F65 came along with its machanical shutter and now the F35 is cheap , Ive watched these drop and drop in price over the last 2 years , the Alexa has trumped them all now and is firmly established as THE digital camera to use on features If you have the spare cash.....get one! ++++++ plus all the rigging you need for it and a serious tripod too! ps I was watching Zodiac the Fincher film shot on a Thompson Viper and was thinking these new Panny cameras are now producing an image better than they shot this feature on in 2007 - sensors are just getting better and better every 6 months now!

has anyone on EOSHD got any Bausch and Lomb Super Baltars or Baltars?? as I'm keen to see what these look like in a shootout with a KMZ Helios 58mm The Super Baltars where used by Gordon Willis to lens The Godfather , he shot 90% of it on a 40mm Super Baltar... George Lucas and Gilbert Taylor also used them to Lens Star Wars . I'm keen to see if a Helios has a similar look to a B+L Baltar........Rich at DogShidt can you give me your thoughts on this as you are into Helios' in such a big way.

the Nikon is sharp its also great fully usable fully wide open .its that sharp you dont have any worries WO its just not Panny 14-42mm kit lens insanely hash aspheric sharp , it has modern coatings does not flare much and has great contrast its MUCH sharper than the Tokina AT-X PRO 28-70mm 2.8 Angenieux designed lens I have talked alot about - thats alot more arty the Tokina The Nikon is great for filmic narative stuff , thats what it gets used for alot by all these big name DPs

it looks like the same but its very expensive !! get the cheaper one all these speedbosoters under extreme back light can flare and you get a blue spot - just move the camera 10 cm left or right until it goes!! .....easy....

I only use 2 wide lenses with the Nikons the Panny 14mm and the Olympus 17mm ....both m4/3

yes that is part of its look that is appealing - I do highy recomend this lens along with its big brother the Nikon IF ED 80-200mm f2.8 together they are a powerful film making combination with a proven history

firstly they dont shoot movies on full frame ..so you dont need to even think about the corners..... they shoot Super 35mm and this lens delivers great images in APSC and Micro 4/3 on a speedbooster Oliver Wood pioneered this lens on Bourne Ultimatum - since then - DPs Phil Meheux, Roberto Schaefer, Trent Opaloch, Newton Thomas Sigel and Barry Ackroyd all use these Nikons too on big feature films. the 28-70mm f2.8 Nikon breathes LESS than the 15k Carl Zeiss 28-80 CZ2 T 2.9 its light and has a 'pop' to it optically its has a very nice look to the glass in it - and it delivers nice blacks too I use them alot it is not as aspherically sharp 'harsh' as a Canon L Series lens is

there is a whole thread on Yashica ML Primes I did 6 months ago - they are very good lenses I like alot have a read of it all I have added metal lens hoods on all my primes , they you can add gears too if you want to