I started giving a Leica list out to individual colleagues and the request kept coming, so we decided to share it with everyone on the blog.  These lenses are only R-Mount, they are the cream of the crop and through variest test we have found them to be excellent.

PROS:

• Slightly warm in color, I alter my color temp. 200 degrees colder to counteract
• Wonderful Contrast and color reproduction
• Creamy
• Lenses do not breathe while racking focus
• Better cinema style  focus rack then other still lenses

CONS:

• Flare easily,  will need to have lens hoods, matte boxes and french flags to help combat losing contrast
• After we de-clicked the lenses the blades on the f-stop ring close while shooting.  Be sure to tape your f-stop every time you shoot so  your exposure doesn’t drift
• Older lens technology, not up to date coating
• Out of focus highlights will give you a stop sign effect because of not having as many iris blades

This lens set was put together with love and commitment to excellence by my good friend David Marconi and Eva Jay http://www.imdb.com/name/nm0545861/.  He is a writer/director and has fallen in love with this technology.   David is directing a movie in the fall of 2010, where we will be taking the Leica’s and our Canon 5D’s to the Moroccan desert to shoot a thriller.

In early June David asked me to take this group of lenses and put them to the test. We used them on a Medal of Honor commercial with Bandito Brothers and a Nike commercial that Robert Elswit, ASC photograghed http://www.imdb.com/name/nm0005696/

Fotodiox lens adapters are the tightest fitting and will focus at infinity.

Here are the best websites according to David and Eva for factual info. about the Leica’s.

http://elrectanguloenlamano.blogspot.com/2008/07/leica-magical-word-with-great-future.html

http://www.pebbleplace.com/Personal/Leica_db_Comments.html

11-1 primo

Ultra Primes are rising to the top by giving the widest field of view compared to the other PL mount lenses; they vignette at a 40mm which translates to a 26.8mm. Not bad.

It is a shame that the Panavision Primo primes that I used to shoot “Act of Valor” are not available anymore. They vignette up to a 35mm, which translates to a 24mm lens. Now that is nice. Their flange depth is so shallow that the Canon 5D, 7D, 1D don’t need to be changed in any way. Now let’s just think about that for a minute. We are taking all of these Canon cameras and chopping them up, moving the sensor, charging the public a fortune to be able to make a PL mount work when the Panavision lenses all work perfectly. They do not void warranties, cut up the lens port area, lose the reflex viewing system, or make the camera unusable with any other mount.

So I have gone on a quest to find the best company to modify these cameras so that you can slap PL mount cinema lens on them.

HOT ROD Cameras

One dedicated, incredibly intelligent, intimate and personal service fabricator is HOT ROD Cameras, http://www.hotrodcameras.com/. Illya Friedman has been a leader in this technology by first building his PL mount on the GH-1. His mount has the signature Green ring and handles, and are built entirely in the USA.

Canon 7D

With so many requests to PL mount the 7D, it started entrepreneurial ingenuity all over the world. Illya had already modified one and had it at Sundance for people to see.

Hot Rod Camera

Denz, Schmidle/FGV www.bandpro.com/309/ and others have started making incredible designs but at a price tag that chokes me, and if a new model comes out, you throw your 7D in the trash or sell it on the Recycler.

7D_PL

HOT ROD Camera’s mount is interchangeable. Illya is forward thinking by trying to look into the future and know that the technology will change. Since the 5D Mark II came out we have seen 2 other cameras come out in quick succession; the 7D and 1D both with different sensor sizes. This is what attracted me to HOT ROD. A mount that could embrace the future, at a price point that is a little more attractive. If you already own a 7D and want HOT ROD Cameras to modify it with a PL mount, it costs $3,250. If you would like a new 7D camera pre-modified to PL mount with all the accessories, it is $4,800. The 7D-PL cameras will be available in our Hurlbut Visuals Moviemaker Kits at Alternative Rentals. Additionally, there are many shops in the LA area renting the 7D-PL. The HOT ROD 7D-PL are the most popular. Here is the short list: Abel Cine Tech, Birns & Sawyer, Camtec, Indie Rentals, Moviola and VER.

Illya is not moving the sensor or altering the electronics of the camera. The only alteration is precision machining the lens mount area to accept the flange depth of all 35mm PL mount lenses. He has partenered with an extended warranty company, so for an extra $200 you have the option of adding a 2-year warranty. The original factory warranty is only 1-year. A new 7D Hot Rodded with a PL mount, the HOT ROD CS (an Arri-standard 15mm lightweight rod support), hand grips and a 2-year warranty all-in is $5,000.  The Denz is $7,700.00 w/camera included. The Schmidle/FGV is $7,500.00 w/camera included. Denz and Schmidle charge extra for rod support, and don’t offer hand grips.  But FGV’s mod has been done with Canon’s cooperation and keeps the cameras one year warranty active.

I talked with Schumacher Camera in Chicago while I was there for Zacuto’s Great Camera Shootout in the middle of May and they said they have 4 of HOT ROD’s 7D mod’s and they cannot keep them in the rental department. They said that the Zeiss super speeds are now flying off the shelves. This is what this revolution will fuel. A recycling of old lens technology that has been collecting dust for years, but when you put it on to these Canon cameras, it takes the camera from a Yugo to a Porsche.

thumbs_top-view-prime2

thumbs_underslung

Once again this platform being Eco-friendly in a way that we never saw coming. Now all the Cooke zooms that were in the Recycler, are now a entity, just like the Nikon still lenses became hot when the 5D was only automatic.

HOT ROD’s 5D PL mod runs about $3,650.00 and then you supply the camera at $2,400.00. All in $6,050.00. Not many of the other manufacturer’s are jumping on the 5D wagon because of the vignette issue. But, I see it as essential tool for making movies.

There are so many different lenses that have been lost and need a re-birth. Go on a creative and visual pilgrimage. That is what I am doing. All of you have been so generous to share lenses that inspire you and I have not kept up with all of your brilliant suggestions. I am only one person with a very full plate, so  I have hired a researcher at Hurlbut Visuals, to acquire these lenses. Meet Julien. He can be reached at Julien@hurlbutvisuals.com. Please send him all of your amazing creative lens ideas that you have used that make you jump up and say, ” I want to see that on the big screen.” Flood him with information please, educate him and we will do our best to deliver. He is a very smart film student that wants to be a cinematographer and a director. I love filmmakers with a passion for learning. The kid in a candy shop energy; when I see that fire, I throw gasoline on it.

So I ask all of you who have shared their lenses of choice to blast Julien with a barrage of information. He is there for you.

BRING IT ON!!!!

I have had many discussions about the different lens options other than Zeiss ZE’s and Canon’s that mount to the Canon cameras.  Zeiss took it to the next level with their Canon mount CP2’s and their new Zooms that come out this summer.  I support your creative vision; not what someone tells you is right for the camera or the fact that it has a Canon mount. Test for yourself, push the envelope, think out of the lens box.

Kowa 200mm Prim Lens 2.8

        

Kowa 100mm Prime Lens

One of Herb Ritts favorite Medium Format Lenses Mamiya z180mm

Using Lomo anamorphics, I think is very interesting. http://members.optusnet.com.au/~smort1/lomos/lomos.

Putting the Kowa’s on the camera will blow your mind with their contrast and flaring abilities. http://www.camerapedia.org/wiki/Kowa_lenses_for_other_cameras.  Leica’s deliver everything that the price tag dictates.  Using the medium format lenses.  I remember when I was working side by side with Herb Ritts, he loved the way Mamiya lenses delivered contrast and a creamy quality which was one of the unique qualities of Herb’s photographs.

1980 Lomo Anamorphic Round Front Lenses

Mid 70's-80's Lomo Square Front Anamorphic Lenses

Lenses are a very personal choice for both a photographer and cinematographer.  They can create a mood and give a certain style to a film that another lens would not.  So I ask all of you to experiment with your creativity, to fly and use what makes you shine.

This path requires some altering to your lens of choice which will assist you in delivering images that will work visually and also technically.  Duclos Lenses in Canoga Park, CA is doing just that. http://www.ducloslenses.com They have a very intimate, customer service oriented lens altering, cleaning and calibrating. You name it they will do it to your lens company.  Most importantly, from a  DSLR shooter’s perspective they do three very essential things.  They de-click all of your f-stop rings, which is absolutely essential with the HD platform.  Most of the still lenses that are set on 1/2 stop click increments.  By de-clicking the lenses, you can be more exact with your exposures.  A 1/3 of a stop increment could be the difference of whether you can hold that beautiful big puffy cloud in the sky and their backlit faces in the frame.

Duclos Lenses Cine-Mod//applies 32 pitch Delrin gear rings

Duclos Lenses Cine-Mod de-clicks your aperture ring

Delrin black 32 pitch gear rings

The other essential thing that they do is put black Delrin, perfectly machined standard 32 pitch gauge gear rings on your lenses that are stable and secure, yet you will have the ability to remove if needed.  Almost any lens can be outfitted with gears for the zoom, focus or iris.  Duclos rings increase the diameter of the lens to give you more of a cinematic throw of focus.

Panavision Primo Cinema Style Lens w/ footage markings on the side of the barrel, notice that the markings go around the whole barrel, this is what gives you that cinema style focus throw, not just 2 -3 inches like most still lenses

Cinema lenses have markings that are inscribed on the lens barrel from minimum focus to infinity and they are spaced out in a way that a focus puller can see them and when you rack focus from 5 feet to infinity it is not an 1/8 of an inch away on your focus wheel or remote follow focus handset.

This is great for a still photographer because the auto focus does not have to travel a long distance which makes it fast to grab focus on what you are lensing.  But when making movies you need more distance between footage marks.  This is so important when it comes to understanding motion.  Your focus is an extension of your creative vision.  It can misdirect the audience and assist in showing the viewer where the director wants them to look or  bring attention to an emotion, etc. So when you mount a larger diameter ring on a still lens you expand the distance between 5 feet and infinity, which then gives the lens more of a cinematic feel. When you rack focus from someone in the background to a object or person in the foreground it has a smooth focus throw, done with the speed that you prefer.  If it is a horror film and you want to build suspense maybe the rack to the F.G. is slow and builds tension, or if you want to use it for a scare tactic the rack can be incredibly fast to reveal.

Duclos 80mm Rings that they affix to the front of your lens which will except 77mm screw-in filters

The third thing that Duclos does is to install a 80mm front ring, which will accept an inside 77mm thread.  Now all lenses have the same front size ring. This is a must for speed when you are shooting.  With still lenses, you have all diameters and sizes, this keeps it all one size.  Which means you only have to buy one ND filtration size.  This saves money, and time.

Paul at Duclos has put these 3 essential modifications to your lens in a pkg., called the Cine Mod for a discounted price.

Dream, create and think out of the box.  Take lenses that no one would think of using and experiment.  What about plastic lenses? I want to see that!

So Lydia Hurlbut negotiated with Canon to sponsor a visual short produced by Hurlbut Visuals and Bandito Brothers Productions that showcased the 24p firmware update in the 5D to remind everyone of the power of this amazing tool.  A tool that can inspire out of the box thinking.  I wanted to feature the Canon glass to show what I had learned over the last 13 months shooting one feature, 12 commercials, and 20 short films with this platform.

Director: Po Chan

“The day when Shane asked me to come up with “The Last 3 Minutes” treatment I was so excited. I knew that I did not have to limit my vision and could go wild because of what this camera can do.  I wanted to write a story which would enable us to showcase different kinds of lighting scenarios and extreme camera angles that will touch audiences hearts. Visuals without a story have no meaning. My own little philosophy about life is that life is like a BIG CIRCLE. We are all born INNOCENT. No matter how many wrong doings or right things we have done, at the last minutes before death we will again become innocent. This is the big circle of life and it is the inspiration behind “The Last 3 Minutes.” The main element in this film is the CRYSTAL that William carries with him, which represents the theme of INNOCENCE and William’s own conscience. A crystal refracts light, so when William looks inside it each refraction becomes a different memory in the course of his life. It is analogous to peeling back layers of an onion with the center layer being just at the moments before death. All of the elements in this film: casting, music, wardrobe style and color, make up (the lipstick color on the actress), hairstyle and color, set dress pieces and the texture of those pieces to the look of the crystal. Everything was carefully planned and considered to make sure every element worked in concert with the story, together in harmony.” For further questions about the concept please email Po at pchan731@yahoo.com.

Canon 5D First Person Perspective

Cinematographer and Executive Producer: Shane Hurlbut, ASC

“I asked Po to write this short and she delivered a phenomenally creative concept within a day. Po not only wrote a heartfelt story but a piece that took advantage of every unique possibility with the Canon 5D technology, especially because of her ideas with using a first person experience. A huge thank-you to Po for her tireless vision and leadership.

When Po and I discussed her creative concept, I believed that the Canon L series glass would be the perfect lens choice because of the close-focus ability and creamy quality.  The Canon glass shined on this project and I was so impressed with the 35, 50, 85, 100mm Macro L Series lenses.  Their contrast range and color knocked me out.

The main character in the short is William Turner, a janitor who’s life seems mundane and uninteresting on the surface but as it unfolds there are many layers. We shot his boring existence in the present day at 24p utilizing the new firmware.  The story then goes on a journey of William’s life over a time period of 67 years which we shot 30p and pulled it in at 24fps so that it would have a slightly dreamy feel. The creamy Canon glass delivered the period look that we were going for as we went back in time beginning in the 1980’s and moving backward to end in the 1940’s.

On the tech front, Doggicam came forth with an amazing new 5D helmet cam that put the 5D very close to the right eye and moved gracefully down the 3rd base line as well as crawling through the high grass in the Vietnam sequence. It uses Doggicam’s patented 5/8″ rod technology to put the camera wherever you would like.  It is extremely lightweight and stable.

HV Elite Team member Bodie Orman wearing the Doggiecam Helmet

Our shoot encompassed 17 different location over 4 1/2 days.  The project was a labor of love from the Hurlbut Visuals Elite Team Members and all the production staff from Bandito Brothers.  This would never have been possible without their time, expertise, willingness to donate gear and take on whatever roles the project demanded. Jacob Rosenberg and his post production Elite Team from Bandito Brothers knocked it out of the park!!  For specific post questions, please email Jacob at jacob@banditobrothers.com. A big thank you to Andrew Huebscher (andrew.huebscher@gmail.com) for his amazing color correction and Brett Novak for his beautiful crystal transitions. The biggest thank you goes to my wife and collaborator. She was the glue that held this little short together with countless hours on the phone connecting people, arranging the deal, coordinating the finances, working with the parents to schedule all of the children and watching over the kids on the set which was a daunting task.”

Director Po Chan and Shane with HV Elite Team Members in action

Carmela McCoy (Costume designer and Makeup) on right and Hether Breckrest (Makeup) on left

HV Elite Team Member Rudy Harbon and Shane viewing a shot

Producer: Greg Haggart

“My team and I knew that we had the task of making this project go off without a hitch. Our job is to anticipate potential problems so we can avoid them to stay on time and within the budget. I location scouted with Po and asked many favors from equipment vendors and the special effects team members from “Act of Valor.”  I believe that the Canon 5D encourages the essence of what film making is all about. Everyone giving it their all; whatever needs to be done for the love of the project with the end result of putting the highest quality image possible up on the screen.”  For further questions about production, please email Greg at greghaggart@mac.com

Vietnam scene with HV Elite Team Members Darin Necessary and Bodie Orman

Editor: Vashi Nedomansky

“Po asked me cut “The Last 3 Minutes” and then brought me super-detailed storyboards and the script that proceeded to act out every shot, angle and transition.  What I realized right away was this was to be no ordinary short film.  Once I received the footage, I had confirmation.  As an editor, I have seen the best and worst shot footage from every camera.  What Shane can do with the 5D mkii will make your jaw drop.  The images are so organic and pleasing that we spent most of the time looking at the reference monitors in disbelief.  The edit was a smooth one and with so many choices for each scene, I let the visuals do all the work.  I did hide a couple zero-cuts in the edit to blend two takes together but otherwise I tried to stay out of the story’s way.  It’s amazing how a cinematic image can instill more emotion into a scene.  That, along with the shallow depth of field, really gives you more tools to tell your stories in the most visually interesting way.” For further questions about editing, please email Vashi at vashikoo@yahoo.com.

Behind the Scenes of “The Last 3 Minutes”

Stay tuned for a sizzle reel of the Behind The Scenes video of “The Last 3 Minutes” directed and edited by Elite Team Member Tim Holtermann.  In the Behind The Scenes footage, we break down how different scenes were done and discuss how a particular scene was blocked, different camera angle choices and unique lighting set ups.  It will be released on the Canon’s Digital Learning Center usa.canon.com/dlc/controller?act=GetArticleAct&articleID=3409 as well as the Hurlbut Visuals website and the HurlBlog.

Reaper

Making HD look like film has a cocktail and one of the essential ingredients to this flavorful recipe is Neutral Density.  You have to keep your exposure on a 5D around a 5.6 to get that beautiful shallow depth of field.  The 7D should be around a 2.8, and the 1D around a 4.0.  This gives the focus puller a chance and still keep a beautiful fall off of focus.

The Canon cameras allow what has never been achieved before with most of the HD platform cameras.  They never had a vista-vision sensor in them.  It was always a 2/3 chip sensor or a 35mm sensor size with more depth of field than anyone would want or know what to do with.

I recently did a slew of tests for the Bandito Brothers Production Company and we discovered how cheap ND (Neutral Density) limited our color correction options.  Green is one of my favorite colors but not what bad green filtration does to a beautiful image with depth and color.

Hoya ND

We had a test where I was shooting five 5D’s side by side with different ND filtration from a variety of manufacturers.  The color difference was astounding.  Muddy, green and flat was the feeling I was getting from an $11.00 HOYA filter. www.hoyafilter.com/products/hoya/oef-05.html

Schneider ND

When I moved to the next camera it had a Schneider that seemed somewhat clean, but not perfect. www.schneideroptics.com/industrial/filters/Neutral_Density.htm?gclid=CM_NhqTH258CFRJinAodS1XdGQ

B + W 77mm

B + W Filter

Then onto the B+W, which has a color that was very close to the Schneider.www.schneideroptics.com/filters/bw.htm

Cameras 4 and 5 had Tiffen Water White IR 1.2 ND’s which looked the cleanest of all of them.  This filter was specifically designed for the HD world.  When you ND so much to get the exposure that you love it increases the IR levels that your sensor is taking in.  This filter counteracts that. For detailed information, please contact Jill Conrad at NYC Tiffen at 1-631-609-3215 or email jconrad@tiffen.com or Robert Oralndo in LA at rorlando@tiffen.com, they both will be able to direct you to a dealer to get you all set-up. Because of the strong demand, Tiffen has started putting together a Indie kit that includes a pouch that goes on your belt and holds 4 WW IR ND filters 3,6,9,1.2.  These will be available soon. Tiffen has also up their ND levels to 5, 6, and 7 stops.  These are now available in WW IR ND and WW Straight ND  1.5, 1.8, and a 2.1.  This is essential for getting that amazing shallow depth of field out of your Canon 5D, 7D, and 1D cameras.

Full Spectrum IRND 100325

When we compared all the cameras in the color correction bay, the Tiffen Water White IR ND quickly moved to the top. The Water White filtration is expensive, but you get what you pay for. What a difference!  So, my recipe for filming is to use the Tiffen Water Whites across the board.

What types of ND filtration do you use?  What gives you the best results?  What problems have you dealt with?

]]> http://www.hurlbutvisuals.com/blog/2010/02/10/filtration-beware-of-the-reaper-of-cheap-glass/feed/ 119 http://www.hurlbutvisuals.com/blog/2010/02/06/still-lenses/ http://www.hurlbutvisuals.com/blog/2010/02/06/still-lenses/#comments Sat, 06 Feb 2010 22:43:02 +0000 Shane http://hurlbutvisuals.com/blog/?p=805 On the still lens front, you have a variety of options.  I am addressing this topic from a 40 foot screen digital projection perspective, not a still photography one.

ZEISS ZE PRIMES

21mm-Zeiss-ZE

Zeiss ZE primes rock.  Their resolution is spectacular and they are lightweight.  Their focus is alittle more cinematic then a Canon or a Nikon, so it gives your focus puller a chance.

28mm-Zeiss-ZE

The lenses do breathe, which means they zoom in or zoom out when you rack focus.  This asthetetic bothers some people so you should see if you like it and or can deal with it.

CANON L SERIES PRIMES

Canon L Series 35mm

Canon L Series 85mm

Canon L series primes deliver very beautiful, sharp images.  They do not resolve as well as the Zeiss primes.  So you will loose a little detail and color gradation choices in post.  If you are fine with that, then the Canon primes are a great choice. Their zooms are not as sharp as the primes and they don’t hold contrast as well.

Canon L Series Lenses

The Canon EF lenses cannot hold up on the big screen. I used them on the first 2 shooting days of the Navy SEAL movie and they were just plain soft. When I went into color correction, I was not able to have the full range of detail of the 8 BIT compressed color space, that I had with the L series or the Nikons. Canon lenses also have one tricky issue: the endless focus wheel.  It is amazing for a still photographer but not a trained focus puller. Companies like Zacuto have put lens stops on their zip gears to try and correct the problem but it is still something to contend with.

NIKON AI SERIES PRIMES

Nikon AI Series 28 mm

Nikon AI Series 50 mm

Nikon glass delivers well with the AI series. They were the cream of the crop back in the late 1970’s and early 1980’s and still are in my book.  They deliver images just like the Zeiss in contrast but the glass has a warmer tone. However, their focus range is short like the Canon’s.

LEICA R SERIES PRIMES

Leica 35 mm R Series

I tested Leica and found that they delivered beautiful contrast and color throughout.  They felt the closest to the Panavision Primo primes and had more of a cinema focus throw, even more than the Zeiss ZE primes. These lenses resolve so well on the big screen.

HASSELBLAD MEDIUM FORMAT ZEISS PRIMES

50 mm Hasselblad Medium Format

150 mm Hasselblad Medium Format

Hasselblad medium format lenses were very interesting on the 5D.  It had the same contrast and color of the Zeiss ZE Primes. You need to check it out. They have an amazing cinema focus throw, but  breathe like the Zeiss. I like the large focus markings and the weight, they felt really nice on my Red Rock Micro shoulder rig.  As long as you feel comfortable shooting above a 4.0 these lenses are a great choice.

With all of the lens options out there, these are still just tools.  The story and the characters are KING!  These players all have a back story that never makes it to the screen, but it is the thread, the tapestry that binds the film.  Find that thread, follow it to dream and create your next work of art!!!!

I have been getting many comments from people on what is the value of cinema style lenses compared to still lenses.  So, this is part one of a two part blog. First we delve into cinema style lenses and what makes them useful. Part II focuses on still lenses and the variety of options. The choice ultimately comes down to the look that you want to achieve as an artist and your budget.  When you read a script you have to let the story speak to you and have your lighting and lens choice be character driven.

For example, on “Terminator: Salvation,” what would a world dominated by machines look like?  Well, I thought about what machines are made of: steel, iron, titanium; these materials all have the color silver in them.  What would a world filled with silver look and feel like?  It would be pretty black and white.  McG and I did not want to make a black and white movie. With a movie that had silver threaded through its visual language, we then added color in their faces and threw in a little warmth in the Resistance to make it visually interesting.  My Elite Team and I set out on a mission to deliver a new look for a post-apocalyptic world that no one had seen before. We used the story and the Terminators characters to drive the look and feel of Skynet proper.  It was cold, filled with contrast, uninviting, dark, edgy, and depressing. The only warm color in Skynet was fire for the fear factor and the color red because that was a franchise established color.

T4 Skynet - Click for larger image

In contrast, the Resistance bunker and personnel had color with warm skin tones to give it life.  I wanted to use greens and gold’s and warm sunlight to show that our characters were trying to survive in this world of machines where they were not a machine.

The exterior landscapes had little life or hope, so we let our silver color bleed into this world.

These are the colors we chose to use in painting our canvas, and they were driven by the story. I turned to the Panavision Primo Primes for their resolution, contrast range and crisp feel.

T4 Resistance - Click for larger image

T4 Resistance - Click for larger image

T4 Post Apocalyptic Landscape - Click for larger image

T4 Post Apocalyptic Landscape - Click for larger image

T4 Post Apocalyptic Landscape - Click for larger image

When I was asked to lens “ We are Marshall” McG and I had gone through a variety of different looks for a movie in the early seventies.  They had been done before and we wanted something unique.  There were a slew of period 1970’s movies that had hit the theaters and we were feeling inspired to make it different.  The story was such an amazing rise from the ashes story.  The characters in the film had lost so much and their town had suffered emotionally and financially for decades.  I walked around the town scouting locations and this event literally touched every single person in some way.  It was truly profound.  I would be in an elevator in Kansas City and some one would notice my Marshall University hat that I was wearing and they would stop me and say.  “You know I was one of the first firefighters on the scene.  The plane crash was so intense and hot that we could not get near it for hours. “ It was a monumental event that effected generations.  How do you translate that into a lens choice or a photographic style?  Well, I went back to still photography and to the Kodachrome images of the late 1960’s for my inspiration. The 70’s looks in cinema that had been done recently had been de-staurated and flat. I felt that this would be incredibly depressing and this story was not about the tragedy; it was about the community’s rebirth.  So what better format than the most beautiful film stock that has ever graced our printers.  KODACHROME!!

We Are Marshall - Click for larger image

We Are Marshall - Click for larger image

We Are Marshall - Click for larger image

Once McG and I strategized, I went out to search for period glass for the image capture.  I settled on 1968 Zeiss Panavision Ultra Primes.  There were plenty of beautiful still lenses that had been converted by many manufacturers to work on our Panavision cameras but none of them were ready to be tested in a movie making environment or one that required specific focus capabilities.  The Ultra primes had been making movies since the 1960’s.  The glass had less contrast which was a big advantage. Kodachrome has a very colorful and stark look but it also has this very beautiful chalky effect in the blacks.  So in the coloring process, I coined the phrase “chalk and drop,” where we took the lower contrast 1960’s glass and pushed the mid tones to the extreme, then brought the blacks way down   This created a halo in the transition area from light to dark. Then with a little added saturation, period art direction and a colorful costume palette, it breathed eternal life into this tragic but uplifting story.  So, it is really up to you as an artist to let the story and the characters speak to you.

We Are Marshall - Click for larger image

We Are Marshall - Click for larger image

Transitioning from film to HD has required a whole new level of creativity. One big weakness in the 5D platform is the 8 BIT compressed color space.  How do you deal with that?  Well, I use it to my advantage by shooting with the sharpest lenses possible.  It gives you more range in the color grading process.  The minute something was a little soft, the details in different shades of color went away first.  The Elite Team and I have done multiple tests and found the Primo Prime resolution is far superior to every still lens out there.  They are all hand made Leica glass with state of the art coating.  Each lens varies from $18,000.00 to $40,000.00 in the prime lens department.  Not $200.00 up $3,500.00.  The Primos deliver about 3 more stops of latitude.  Because of the lens size it captures more light, so seeing into the shadows was increased by about 1.5 stops.  Then with the coating and design of the lens, it holds more detail in the highlights, about 1.5 stops.

Unfortunately, Panavision is currently in a lawsuit against Canon pertaining to Canon copyright infringement of their CMOS Sensor http://image-sensors-world.blogspot.com/2009/10/panavision-sues-omnivision-aptina.html. Until this gets resolved, the Panavision lenses will not be available for rental. Everyone is now on the bandwagon to give you PL mount lenses. So the market is wide open for engineers to take apart the Canon 5D and 7D cameras and carve it out so that the PL mounted rear element does not hit the Canon mirror.  This will then enable you to use the Cooke S4 Primes, Arri Ultra Primes, and or the Zeiss Master Primes.  Clairmont Camera has started to tear them apart and retool the mount. Illya Freidman at http://www.hotrodcameras.com/ has done a 7D that I saw at Sundance for around $4,000.00 and it looked sweet.  He will convert your 5D if you provide it.

Just be aware that if you interfere with the Canon body in any way, it voids all warranties. I know in my heart that at least one lens manufacturer will see the light and build a cinema style lens with a Canon mount in the near future.

Click here to view the 720p & 1080p versions of Navy Swimmer: Mountain Rescue & Sea Rescue Sequences

Here is the breakdown for the Mountain Rescue portion of Navy Swimmer.

• 1-camera in deep water housing which captures underwater and split level shots
• 1-camera mounted on the Navy Swimmers helmet to capture him exiting the helicopter and being lowered down in between the rocks, and then lifting back off of the rocks and back into the helicopter
• 1- camera mounted on a Cine flex gyro mount on an A-star helicopter giving us helicopter to helicopter shots; our scope.  The Navy swimmer helicopter leaving the tarmac, heading to mountain rescue location, hovering at a scene, and then heading back to base.  Mission accomplished
• 1- camera in the Navy Swimmer helicopter capturing pilots communications, Navy Swimmer & Corpsman getting ready, jumping out of helicopter and retrieving climber
• 4- cameras on the mountain terrain with 4 different focal lengths lensing the action from a distance.  1-300mm Canon, 1-600mm Canon, 1-70-200mm Canon Zoom, and 1-100-400mm Canon Zoom
• 3-cameras hand held underneath the choppers prop washing getting more intimate coverage, seeing the Corpsman lower down, then Navy Swimmer comes down with the backboard, hand held as they help climber, and then document him getting pulled up to the helicopter
• 1-camera on tarmac in a mini-van as Navy Swimmers get the call
• 1- camera hand held following the swimmers to the helicopter and preparing before lift-off
• 1-camera on wide shot as helicopter lifts off

Here is the breakdown for the Sea Rescue portion of Navy Swimmer.

• 1-camera in deep water housing which captures underwater and split level shots
• 1-camera mounted on the Navy Swimmers helmet in a surf housing so that it can take on water
• 1- camera mounted on a Cine flex gyro mount on an A-star helicopter giving us helicopter to helicopter shots, our scope
• 1- camera in the Navy Swimmer helicopter capturing pilots communications, Navy Swimmer & Corpsman getting ready, jumping out of Helicopter and retrieving pilot
• 4- cameras on a boat back away from the prop wash and with 4 different focal lengths.  1-300mm Canon, 1-600mm Canon, 1-70-200mm Canon Zoom, and 1-100-400mm Canon Zoom
• 1-camera on tarmac in a mini-van as Navy Swimmers get the call
• 1- camera hand held following the swimmers to the helicopter and preparing before lift-off
• 1-camera on wide shot as the helicopter lifts off

My Elite Team makes me shine everyday and the visuals that you see are a collaborative effort!

Nikon Lens

Nikon lenses are sharp with a little softer contrast than the Zeiss lenses.  The older A lenses are nice because they have a wider focus barrel which makes it easier to mount your Zacuta zip focus gears or Red Rock Micro focus rings. 32 pitch focus rings for the still lenses are made by both Zacuta and Red Rock Micro and the choice is one of personal preference.

Be wary of the Nikon AI lenses because it is difficult to mount any gear system to the lens which makes it very tricky for your focus puller.

The 28mm is an amazing lens.  It has low distortion and focuses to 18 inches.  The old Nikon glass is exceptional. Great contrast, very sharp.  The Nikon zooms are much sharper than the Canon’s.  Sharpness is your friend with HD because it gives you the 3 dimensional quailty of film.  By using the 65mm depth of field that you get with the 5D Mark II camera you are able to pull your subject out of the background.

What have you noticed with the different Nikon lenses? Which one is your favorite and what makes it your number one choice?  I will share your experiences with the other blog readers and the film community, so please leave comments.

Panavision Primo Lens

Be aware of the large sensor in the Canon 5D Mark II camera. The widest lens that does not vignette the sensor is a 35mm.

What is your favorite lens to use and what did you notice about how it performed on the 5D Mark II?