CVP ADVERTISEMENT FEATURE
Upgrading from stills to cine lenses Everything you need to know about making the leap to purpose-built cinema optics
A lthough lenses designed for stills cameras often have speedy autofocus and image stabilisation, there is nothing quite like using a lens built purely for the unique needs of filmmaking. Cine lenses are specifically for moving-image work, which can involve a completely different workflow and shooting style, often including dedicated crews and operators. And the tactile user-experience of delivering optical performance while racking focus or zooming – and consistent light transmission due to T-stopmarkings –makes them the perfect equipment to lift your work to a higher level. Starting with the physical attributes of cinema lenses, the best ones are designed for a consistent size, which helps with accessory use. Lenses matched in size make lens swapping easier when using support and motion control equipment, and consistent gear ring placement means less time moving motors around. It also means that balancing your rig or stabiliser is much faster. With filters, stills lenses use threaded ones that screw directly to the front. But there is very little consistency across lenses, so you either have to buy multiples in different sizes, or use an accessory such as the Revoring – a variable step-up
ring. While some cinema lenses do feature threads for screw-on filters, the most common way of adding filtration is with a matte box. Attaching one can be done with either a rod support, or by using a clamp- on system around the front of your lens. With standard front diameters ranging from80mm all the way up to 162mm, you must make sure the clamp systemmatches with the front diameter of your lens. Most sets of cine lenses will have a consistent front diameter, like the Canon CN-E and Sumire primes with a 114mm front. So, a matte box with the right-size clamp can easily be used when switching between focal lengths. Many high-end cine lenses come in the Arri PL Positive Lock mount – a very secure systemwith a locking design. This greatly reduces any play in the mount, that could translate to image shift while focusing or zooming. Where a stills lens would typically be turned to click into its mount, a PL lens is attached by lining up the locating pin in the mount with a corresponding notch on the lens, then the mount itself is turned to securely lock the connection. With full metal bodies and larger lens elements, these heavier cine lenses have a need for greater mount stability and can benefit from the use of a lens support rod system.
THE CINE ADVANTAGE Stills lenses are often smaller than true cinema glass (top), but are a compromise for filmmaking,. Being able to easily fit a rail-based system or follow-focus unit (above) makes true cine glass ideal for serious motion picture use
30
PRO MOVIEMAKER
Powered by FlippingBook