andy lee

most likely - the f stops I was quoting above are for Super 35mm/ apsc size frame. Full frame I find is way too narrow at f2.8 so I shoot around f5.6 ish and lower to get a a Super 35mm look on FF There is always this problem with full frame as its such a narrow dof you get - it looks wrong in my book ...so I rarely ever shoot full frame unless I have to, my Canon is used only for stills . If you buy American Cinematographer magazine every month you will get a goldmine of info on how to shoot cinematically - they tell you in great detail how they shoot these big movies we all watch. There are the same focal lengths coming up in their articles for the last 40 years the basic filmic rules of movie film cinematography have changed very little in this time. Shooting styles change but how you aquire images has not I was lucky enough to be standing on the side of the set today as Jude Law and Colin Firth shot the film Genius here in Manchester with DOP Ben Davis at the helm . They shot Panavision Primo Anamorphics with a few E series and C Series lenses in their batch. The focal lengths they had where 17.5mm 27mm 35mm 40mm 60mm 100mm those are just the ones I could see on the lens trolly - on an Arri Alexa they are all classic movie making focal lengths (yes they are anamorphic so wider) but these are the lengths you would think they would be using what Im saying is if you follow these focal lengths you can't realiy go wrong in Super 35mm format.

thanks for posting this test / review , shame abut the distortion , try the 24-105mm f4 canon You are shooting 5d3 .....Im using it on a speedbooster with micro 4/3 camera and it makes it a very nice f2.8 17-74mm... ish constant apperture zoom and its very sharp too , its a very usable range this and fast too another jem to try is the Carl Zeiss Contax N Mount 24-85mm f3.5-4.5 its very very sharp and great colours and Zeiss blacks nice contrast - Conurus to a Canon mount mod for it . Its a serious bit of glass in this lens with Aspheric elements - almost PL mount Cinema glass quality !! http://conurus.com/contax/lens-modification-service

that low contrast look can also be achived with the right lenses that have that look . one that is very very good for this is the Tokina RMC 28-85mm f4 its cheap on ebay - it has very very low contrast and very low saturation - they just made it like that for some reason ! it looks great and I use it to get this look via the glass - not using filters on my good lenses Now its a useful lens as it covers a good useable range 28 for the coverage , 85mm for the close ups and 50 0r 40mm for the rest ! you can shoot an awful lot on this one lens! stick it on a speedbooster so you have Super 35mm field of view with it. it also then becomes a very good f2.8 !!

ps : the trick with both these lenses is to shoot in the sweet spot of f2.8 - f4 range , so light your set for f2.8 or if outside use stacked Tiffen Nd's to get your f2.8 exposure it looks very filmic with enough depth of field actors can have faces in focus!! ......which is what we aim to do ! If you use these lenses at f8 - 16 with no Nd's you may as well use a kit lens - you will loose the look they have!! I use them both on Lens Turbo speedboosters - so they are f2 and superb at night outside at that stop. On set I still stop down to f2.8 when using the Lens Turbos (which are great - very sharp!)

both are very good lenes for different jobs The Nikon is superb glass with a'pop' to the look it has , its NOT parfocal so use it as a vari prime Great for narative filming as it has the 3 focal lengths I use alot 28mm for all the coverage , 70mm for all the closeups and 40mm for all the stuff inbetween plus you can shoot all day at f2.8 and its sharp wide open solid blacks and warm tinge colour to this lens this lens is the closest you will get to a Carl Zeiss 28-80mm PL Cinema Lens This lens has no focus breathing when you focus - a must for focus pulling on big movies - thats why it gets used on Major films like Bourne. The Tokina has a great look to it its softer wide open at 2.6 and had s a sweet spot between 2.6 and f4 - mine is declicked so I can get inbetween settings The tokina has a very cinematic look to it - I do like the slightly softer look at 2.8 on digital its has more paintery feel to it not as aspherical clynical sharp - think Classic Angenieux shot films of the 70's - this is for all intents an Angenieux lens - it has that look to it . this lens has lower contrast and less cruched blacks than the Nikon its almost parfocal so you can do those Paul Greengrass Barry Ackroyd crash zooms - if you want to Both are very good - I use them all the time on speedboosters on micro 4/3 cameras

yes auto really is a no no - as the camera will decide to alter the settings when you dont want it to . Fully manual for making films is the way to go. set the iso manually - set the apperture set the shutter speed also set the white balance manually too no auto - ever!! now if you have a gh4 you can use the wifi to manually alter settings when the camera is airbourne - test it first !! on the ground!

glad to be of help ! yes you can put adapters on the ef speedbooster - Im using m42, nikon , pentax . c/y and olympus on mine . once the speedbooster is on just treat your camera as a canon mount My speedboosters are on all the time now - I rarely shoot without them.......... wider , faster ,sharper....

its a very old well established practice in cinematography - cheap and very very effective - it works! if its good enough for DP Seamus McGarvey and Shane Hurlbut its good enough for everyone on this forum.... here is his step by step post on how to do it properly http://www.hurlbutvisuals.com/blog/2012/05/diffusion-for-the-digital-age-part-2/ http://nofilmschool.com/2013/12/diffusion-how-and-why-to-use-stockings-on-your-lenses and the good thing about it is you can do it your own way and create your own look , no 2 people do it exactly the same ....so test it first and find the way that works for you ....then use it on a job

oh yes it work very nicely - try it , you vary the look by stretching the nylons more , give it a go ! it also works very well if you stretch them over the front of the lens too , and use an elastic band to hold them on ...

they dont get much better! this C/Y zeiss glass is very good for the money

you can get this lower contrast look by just stretching nylon stockings over the back of your lens... its cheap and works !!- they have been doing this in Hollywood for many many years since the 1930's - it works!! just watch Atonement by Seamus McGarvey 2007 shot with nylons on the back of the lens read this in American Cinematographer magazine about how he did it http://www.theasc.com/ac_magazine/December2007/Atonement/page1.php Atonement, shot by Seamus McGarvey, BSC, lends stunning visuals to a novel’s impact. To further emphasize the heat, the cinematographer shot most of the 1935 scenes with a 10-denier Christian Dior black stocking on the back of the lens. The only time the filtration came off, he explains, was “when we were shooting against very bright windows. It would bloom out too much and the areas of overexposure would start to corrupt the shadow areas. For those odd shots, I used Schneider Classic Softs — 1â„8, 1â„4 or 1â„2.†While praising the stockings’ effect, McGarvey’s 1st AC, Carlos De Carvalho, notes that the material “reacts very differently if you have a lot of stop on the lens, so [McGarvey] kept things pretty much wide open, which made it more challenging for me — more exciting, actually!†Easing the damage to De Carvalho’s nerves, Panavision supplied a complement of RF (rear filter) lenses, with the exception of the 40mm prime. De Carvalho explains, “The lenses have a little screw-on adapter on the back, which allowed me to pre-net all of the lenses and have a separate ring for each lens. The longer the lens, the more you have to stretch the stockings, so we had to be careful to mark them all. But it allowed us to take the stockings off or put them back on quickly.â€

these are the lenses you should be looking at the general thought of view is that zeiss stopped their deal with Contax Yashica then made new sleeker housings and its the same optics inside these newer zeiss lenses you where looking it , these are all C/Y mount 50mm f1.7 http://www.ebay.co.uk/itm/Carl-Zeiss-Planar-50mm-F1-7-Contax-Fit-Lens-/171498620996?pt=UK_Lenses_Filters_Lenses&hash=item27ee1d4844 25mm f2.8 http://www.ebay.co.uk/itm/Carl-Zeiss-CONTAX-Distagon-2-8-25-25mm-F2-8-G-Germany-adaptable-EOS-A7-/390941670550?pt=DE_Foto_Camcorder_Objektive&hash=item5b05f07c96 28mm f2.8 http://www.ebay.co.uk/itm/EXC-Contax-Carl-Zeiss-Distagon-T-28-mm-f2-8-/181555591858?pt=UK_Lenses_Filters_Lenses&hash=item2a458e7ab2 35mm f2.8 http://www.ebay.co.uk/itm/EXC-Contax-Carl-Zeiss-Distagon-T-35mm-f2-8-35-2-8-AEJ-Canon-4-3-5951126-/271501357737?pt=UK_Lenses_Filters_Lenses&hash=item3f36bdf2a9 I dont know the exact focal lengths you want but this is the range of Zeiss that are very very good and still affordable - stick them on a speedbooster and they become wider and sharper and f2!! Or just get a Nikon 28-70mm f2.8 IF ED - it covers the above and is killer glass and on a speedbooster is also f2!

very good , very sharp , great zeiss colours and nice blacks also very expensive each. I would get a set of Zeiss Distagons and Planars in Contax Yashica mount just as good and alot cheaper then stick them on a speedbooster to make them all f2 save a load of cash ....

I worked on a Neve V series with flying faders for many years - i produced alot of big hit records on that desk. http://www.discogs.com/artist/11911-Love-To-Infinity?type=Credits&subtype=Remix

the most important thing for a cinematic look is the lens you use and the f stop you choose , that dictatate the look the most , I personally cant tell the differance between 25p and 24p visually

its a PL Mount cinema lens ....so Super 35 only it will not cover full frame. its not designed for photography at all.

can you imagine the bokeh drop off at the 1000mm end of the lens , i bet it looks amazing to have separation like that !

I agree with Rich , I'd take a dog schidt with oval apperture any day over an anamorphic lens , its so much quicker and easier to use too' I haven't shot any anamorphic for over a year now - I dont get asked for it...... But I am getting asked for 2.35 framed and black bars shot on spherical (I call it Serio Leone style as he shot 2 perf spherical 'techniscope')- its quicker and faster to work and looks just as good to a client.

I think this one is a rental only job , its nearly $80,000 !! ouch

Sounds very usable , I have a Canon 24-105 on a speedbooster thats very good it makes it a constant f2.8, this sigma goes that bit futher to 135mm which is very useful to have especially for face shots with extreeme bokeh separation from backgrounds the big plus is the manual apperture! I think Im gonna get one - thanks for the tip off!

so how much does the sigma extend when you zoom it? or is it internal focus and internal zoom - if so Im getting one!!

start saving up this wont be cheap! the world longest PL mount cinema zoom ! coming soon to be used on every major sports event on TV ! have a read about it here on Mathew Duclo's web page http://matthewduclos.wordpress.com/2014/10/16/canon-announces-worlds-longest-cinema-zoom-50-1000mm/

Hi welcome to the forum Im interested to see this working for you as its a great lens you have there! There are about 4 or 5 different ebay c mount to micro 4/3 adapters I have bought them all over the years as different lens have different size rear screw in parts that hit the bottom of some adapters and not others - you need to try a few and find one that fits as they all have different size diameters that the lens can seat into post a photo so we can see how big the rear part of the lens is compared to you adapter

thank you Jazzbox very much for this info and your kind offer much appreciated kind regards Andy

looks good! let us know !