ULTIMATE GUIDE TO LENSES ACADEMY
The glass that filmmakers should look to own – and why
WORDS ADAM DUCKWORTH
C ameras come and go, but lenses last for ever – so always invest in glass. Those old maxims have been trotted out by image-makers for years, from stills shooters to moviemakers. Like all good clichés, there is a lot of truth in it. But it’s not totally accurate, as clearly a 50-year-old lens with old-school coatings and no autofocus might give a vintage look, but will hardly squeeze the last bit of quality and capability from your 6K wonder-camera, shooting in Raw for viewing on a 55-inch mega TV. And where once the lens and film stock were pretty much the only ways of
affecting the final look of your movies, in modern times the image sensor, codecs and editing are crucial, too. But buy the right lens and it will give years of faithful service, and make a massive difference to your films. With considerations such as ultimate quality, cost, real-world usability and communication with your camera and editing software, the right lens is a crucial purchasing decision. To help you through the minefield of different lenses, our guide looks at lots of different types of optics to suit all budgets and users.
36
PRO MOVIEMAKER SPRING 2020
Powered by FlippingBook