Welcome to our community

Be a part of something great, join today!

Register Log in
  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

DREAM LENS for for feature films + RED HELIUM

Leica Summilux series or Summicron. Love Cooke as well.

Generally speaking, a clean look, not anamorphic with a good three dimensional feel and smooth organic bokeh transitions

35mm and 85mm on full Helium or Dragon sensor, maybe something close to 20mm and 150mm for special occasions. Wide open, preferably T1.5.

If I had no constraints I would try and invent a Dragon covering lens with big lens diameter at 18 or 20mm with sharp T0.8. That would be my dream lens, a wide open, wide lens with shallow DOF, close to 65mm feel but faster.
 
Depends on the shoot. My go to are the Summilux-C Primes for S35 and they pair nicely with Helium 8K. They are a nice clean look and are especially useful if you desire working wide open @ T1.4 or close to it.

I'm actually itching to shoot a feature length project with my Schneider Cine-Xenar IIIs, they have been bloody useful and lovely for a lot of content I've shot in the last few years and produce a lovely image.

Back to the fast side of things, if you've never worked with the Vantage One T1 primes, they are indeed a great and "crazy" set. When I used the 17.5mm at T1 it sort of blew me away because there truly isn't anything like it. They've got a full range of focal lengths now and you can certainly shoot narrative with them.

But to my first point, sort of depends on the story for me and general needs of the shoot itself.
 
Yeah I would always start with the story -- if it's got a cooler tone or something like that I might head toward Ultra Primes (I really like these lenses)....going warmer I'd trend toward some cooke S4's....maybe it's anamorphic...or maybe you need to move quickly and will have some light and I'd jump on some Optimo zooms.

Admittedly I need to test the Summilux/Summicron series of glass. Never even framed up with one before.
 
Phil,
curious what you or others think of the new Sigma
Cine Primes for feature work.
 
Curtis boggs said:
Phil,
curious what you or others think of the new Sigma
Cine Primes for feature work.
Click to expand...

I just shot with them and they performed a bit better than I had been expecting, mostly given cost. They're a great budget option, especially if you're an owner/operator...but I would try and get that longer-term discount from a rental house for doing a feature with some different lenses, even something like some classic Super Speeds. The Sigma look, for me, marries some classic video vibe with a more cinematic edge to it. I found that they were a great way to shoot great quality stuff for a branded piece. They handle rolloff a bit better than still glass and feel solid... but I felt like it lacked some of that "special sauce" feeling when I toss on something more like Ultra Primes or S4s, though you could argue they're different categories of glass based on price.

(PS my thoughts were for S35, I see Phil jumped in below expanding on FF...I'm not in that world :)
 
Curtis boggs said:
Phil,
curious what you or others think of the new Sigma
Cine Primes for feature work.
Click to expand...

They're very nice. If budget wasn't a consideration and I can choose anything, there's other stuff I'd use for S35 productions first likely as I listed above.

However! If I was shooting a VistaVision film today, that's where this becomes much more fun. Than it's a real hard toss up between the Tokina Cinema Vista Primes, which are wonderful. And the Sigma Cines. And also likely the Zeiss Otus Primes if I can get away with just having a wide, normal, and tele prime for the project. Those are my top three in terms of fast primes for VV. Primo 70s look awesome on the 8K VV too, the Cooke S7s are appealing as well.

The Sigma set is hard to beat for the cash. But there are of course light differences between some of the other fast primes in that range. The Otus feature the best grinding and polishing, which leads to a slightly cleaner (no onion rings) in the out of focus bokeh.
 
Absolutely agree on story. I may have an opportunity to work on the biggest project of my life. I plan on doing many tests coming up

My gut is telling me a combination Cooke S4 and a set of Optimo (both of which I have worked with many times before). but I am also itching to try new things and make bold choices

Anamorphic is on the table though for sure. I am curious how the Hawk set handles, as opposed to something like the Kowa, which I have a little experience with.

I am also curious on thoughts on Panavision sets + RED
 
There are an insane amount of lens options all with their own look and feel and palette. Ask yourself what are you shooting, even scene by scene. Im shooting a feature coming up and Im shooting on about 4 different sets based on the story, the psychology of the characters, the style of filming etc. There are tons of options. TONS. any of them will shoot a movie for you. Just to pick a set randomly based on performance or crowd favorites is taking the easy way out. Give your project some depth, research every set you can, research your story, give those two things a romance. Like they are meant for each other.
 
I'd start with story, tone, feel, and work toward how you might approach your lighting style / considerations and then see what lenses will enhance your vision.
 
For the owner/op type I'm happy with what i've done, .. Sigma for the super sharp and cleaner glass and Leica-R's
for the more "stylized" work.

If I was shooting a feature with a budget I too would test glass and match the glass to the story.

Curtis
 
Matthew Quinn said:
Absolutely agree on story. I may have an opportunity to work on the biggest project of my life. I plan on doing many tests coming up

My gut is telling me a combination Cooke S4 and a set of Optimo (both of which I have worked with many times before). but I am also itching to try new things and make bold choices

Anamorphic is on the table though for sure. I am curious how the Hawk set handles, as opposed to something like the Kowa, which I have a little experience with.

I am also curious on thoughts on Panavision sets + RED
Click to expand...

Honestly if you can get a PV mounted RED I would jump at that chance, not a whole lot of projects come around where that's an option. I know a lot of folks go with the Hawk V-Lite's for tons of commercial stuff that want a more pronounced look.
 
Domenic Barbero said:
There are an insane amount of lens options all with their own look and feel and palette. Ask yourself what are you shooting, even scene by scene. Im shooting a feature coming up and Im shooting on about 4 different sets based on the story, the psychology of the characters, the style of filming etc. There are tons of options. TONS. any of them will shoot a movie for you. Just to pick a set randomly based on performance or crowd favorites is taking the easy way out. Give your project some depth, research every set you can, research your story, give those two things a romance. Like they are meant for each other.
Click to expand...


completely agree.

I just like to know what all of you fine people think. I would be a fool to not ask this bunch =)

ty for all the feedback keep it coming!!
 
It would be helpful to know the subject matter.

Definitely try something new and "reach for the stars."
 
Netflix is now strongly recommending Summilux C glass as most of their hit shows are shot on them.
 
You must log in or register to reply here.
Back
Top