GEAR
OPTICAL OPPORTUNITY
Want high-performing lenses without the premium price tag? Here’s how to get bang for your buck PRIME QUALITY
WORDS ADAM DUCKWORTH
I f money was no problem, every aspiring creative filmmaker would splurge on a huge swathe of prime lenses to suit each job. Perhaps a set of fast AF primes from the camera maker’s own range, to ensure both blazing-fast AF and wafer-thin depth-of-field? Or maybe a set of matched cine primes for the tactile manual focusing and pure handling experience – some with special flare or a vintage look, even? If cash really is flowing freely, then a selection of full-frame anamorphic primes from a big-name manufacturer like Cooke could be just the ticket. In fact, why not
have a set of all different types? It’s the stuff dreams are made of. The reality is that even Hollywood DOPs rent their more exotic lenses for each film. But most independent production companies or one-man-bands don’t have this luxury. So it makes sense to actually own all your most-used lenses. Is it possible to get genuine, professional quality from third-party manufacturers or makers of more affordable optics? We put three types of lens through their paces on a lifestyle shoot, to see just how good these less expensive options can be.
43
PROMOVIEMAKER.NET
Powered by FlippingBook