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  • 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 :)

Super Speed footage?

Charles Angus said:
ICan portholing be used to describe any severe vignetting?

(sorry for the threadjack)
Click to expand...

No,

FWIW most ENG zooms porthole.
With portholing it will probably go away when you stop down. Vignetting will get worse when you stop down.

Stephen
 
USlatin said:
I am wondering now, is the contrast I see from the Standard Speeds not possible when shooting on Super Speeds? Please correct me if I am wrong. It is so hard to tell on small www sized renders. It might be similar on the shots against the light blue wall which might have easily been shot at an aperture well beyond f2.8 perhaps as small as f5.6 or smaller.

This obviously isn't a big deal budget wise, Standard Speeds are the same exact rental cost but I do need to get to see more footage, understand the looks of the lenses through their range.

An other thing I noticed is that the $300 set of Standards can include a 14mm! Anything wider costs more but there is a 10mm! ($175 all by itself) There is also a 135mm which can be included in the set at no additional cost and may come in handy to pull in the opposing shore a bit closer.

I certainly need to look at more footage of both sets to get to know them better. Thanks for posting the videos Evin!
Click to expand...

Your welcome, the contrast is easily boosted in post but it's not exactly the same. There are subtle differences. Also many DPs will shoot Super Speeds and mix them with the 10, 14, 40, 100 and 135mm standard speeds in order to get those focal lengths. They are plenty well matched to do so without hesitation. The close up of the blue wall was actually shot a 135mm Standard Speed.

The questions I would ask are...
A. Do you need T1.3? If so go Supers, no question.
B. Do you need the highest resolution for projection? If so go Standards/Ultras
C. Would you prefer a low/medium/high contrast look? Then choose Supers/Standards, Optimos or S4s/Ultras or Master Primes
All of these lenses can be mixed with impunity as long as you have a reasonable expectation of some post color correction, even just Apple's Color.
 
I think based on the two videos and knowing that the light blue wall stuff was standards... that I want medium contrast for most of the film and some specific scenes on the supers... I am afraid to look at Ultras cause I might like them. :) Though they rent for $100 a pop.. so I shouldn't ignore them as if they were a sacrilege... but I don't want to be stuck with a set of four... something like 85, 40, 24, 16 or 85, 50, 28, 16 may be a bit too jumpy.. It might be wise to only consider either $300 or $500, right?

Michael Ragen said:
most of the interiors and some of the exteriors on this video were shot with super speed mkii's:

http://vimeo.com/2217794
Click to expand...

Wow that really is a great song! And spectacular cinematography in my eyes! Wonderful piece all around. Too bad it would be tough to list what shots were on what glass one by one.
 
Maybe I should rename the thread to Zeiss footage now?
biggrin.gif


Any objections?
 
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