cboy
Well-known
Thanks for this interesting fact.I was also considering on getting this lens for some personal work ,however i have some hesitancy since a excellent mint 50 0.95 is quite pricey for a lens that has been known to be susceptible to fungus, and requires periodic cleaning/ dismantling of the lens.
Do you think we can get the same dreamy effect on the mitakon 0.95 or voigtlander f1.1?
retinax
Well-known
Just watched the trailer, not as bad as I expected reading the comments. Not every shot is wide open. And the wide open ones aren't thaaat funky, probably because what would be the edges on 135 aren't imaged on super 35 format. Still too many shots with pointlessly narrow dof. Or not completely pointless, I suppose I helps in a zombie flick, sort of like deep shadows - you don't know what's hiding there.
Archiver
Mentor
It won't be exactly the same rendering, but those lenses will have similarly dreamy look and shallow depth of field. Another option is the Canon FD 85mm f1.2 for portrait/tele shots, the Noctilux f1, and the Voigtlander Nokton 35mm f1.2 v1 to cover the 35mm focal length. A lot of people use adapted Helios lenses to get that dreamy swirly look.
Here's the Voigtlander Nokton 35mm f1.4 SC (M mount) on Sony A7 III
https://www.youtube.com/watch?v=ClfM-QEZFpw
MC version on Sony A7S II. Video samples at 1 minute.
https://www.youtube.com/watch?v=hxDbw8Tetuk
Nokton 35mm f1.2 v1 on Panasonic GH4. It looks pretty awful, but I feel that Victor from Annie Barton didn't shoot this in an optimal way. Fast shutter speed, no ND filter, etc. Also, the GH4 has quite poor dynamic range when shot in Standard, which is what this looks like. However, purple fringing is very strong, so those situations should be avoided when shooting video with this lens.
https://www.youtube.com/watch?v=Km73T7D-9M0
The tendency for M mount lenses to smear on Sony mirrorless cameras is actually a positive if you're after the dreamy look!
peterm1
Mentor
I am not sure if anyone has posted this article here but I just stumbled on it. It contains a considerable number of very nice images from the Canon 50mm f0.95.
https://medium.com/rokkorxblog/canon-50mm-f0-95-3d61be5e357e
https://medium.com/rokkorxblog/canon-50mm-f0-95-3d61be5e357e
I would imagine it’s not only the lenses that create that atmosphere. I mean, I can use that lens and film a few zombie friends and no one in this thread will be talking about atmosphere...
If it was only as simple as using a lens.f.hayek
Well-known
I would imagine it’s not only the lenses that create that atmosphere. I mean, I can use that lens and film a few zombie friends and no one in this thread will be talking about atmosphere...
It may be more of the lens than you allow.
Suspending reality and entering a 'dream world' of the darkened theatre is central to the immersion. Whether it's the score that does it or cinematography, the acting and/or dialogue can often be the least of the several elements that create the experience. The leaden screenplay and stilted acting of the original Stars Wars film, "A New Hope" comes to mind...
Sure the lens has a look, but lighting and color grading are optimal on this level of production. A lot of hard work goes into these productions and attributing it to the lens is shortsighted. It’s simply a piece of the puzzle. If you don’t believe me, try making a zombie film in your backyard by simply just using the lens and available light and then uploading it straight out of camera for our viewing pleasure.
Evergreen States
Pierre Saget (they/them)
Worth remembering that, save for certain effects, movies since the adoption of sound are shot at a constant shutter speed of 1/48th of a second and European television shot at 1/50th. The shutter on a motion picture camera is a semicircle that rotates as the camera pulls down a frame, freezes it for 1/24th of a second and advances to the next one.
There are certain effects where the 24fps (frames per second) and 1/48th shutter speed are not used. Higher frame rates create slow motion (more film going through the camera to record a single second stretches the moment out when played back) and shorter frame rates create fast motion. Because of how the shutter works, the normal shutter speed is the reciprocal of double the frame rate, so 120fps typically uses a 1/240th shutter speed. However, the shutter speed can also be adjusted independent of the frame rate. Just like how high shutter speeds freeze motion in still photography, in cinematography high shutter speeds relative to the frame rate can heighten clarity. This technique was used to make the battle sequences of Saving Private Ryan more immersive, particularly when capturing explosions. They also had one camera modified so that the rotating shutter was out of sync so that there would be motion blur within the frame (this looks like upwards streaking of things such as light sources and smoke). This technique had been previously used in the final scenes of Full Metal Jacket, set in Hue at night.
f.hayek
Well-known
Of course you're right, but the puzzle pieces aren't all of the same size, if you get my drift.
rokkorx
Member
Hope u enjoy my article about Canon 50mm f0.95 , if I have much more time , I would like to take more night time sample ... It seems that C0.95 is a night time portrait lens rather than a daynight street photograph lenes...
Forest_rain
Well-known
This movie had terrible reviews. I was a little surprised because I didn't think it was too bad. Maybe I was hungry for more zombie movies though.
Ace0fClub5
Member
So I work in the film industry (and I've also been very much interested in the history of the canon rangefinder line for some time), but these lenses are now becoming the "hot" primes to shoot with.
One thing that gives you a better idea on how this film has changed the market is this listing on ebay for a lot of 30 leftover helical guts for the 35/1.5.
https://www.ebay.com/itm/284352239081?hash=item4234b6d5e9:g:cRIAAOSwcWBg2xJG
Kind of sad to see.
One thing that gives you a better idea on how this film has changed the market is this listing on ebay for a lot of 30 leftover helical guts for the 35/1.5.
https://www.ebay.com/itm/284352239081?hash=item4234b6d5e9:g:cRIAAOSwcWBg2xJG
Kind of sad to see.
Archiver
Mentor
That's a little disturbing. I assume these are the castoffs from cinemodding those lenses? On the plus side, lenses like this will get a new lease of life and be used in dozens of productions. On a much smaller scale, my vintage Minolta and Pentax glass has sat around for years until I got a full frame mirrorless camera and adapters.
On the minus side, it drives prices up for people who want to use them in film cameras. I wish I had bought Leica R and Contax Zeiss glass 10-15 years ago when prices were more reasonable. But at that time, I had no use for them, and couldn't predict that I'd want them 10-15 years later.
raydm6
Yay! Cameras! 🙈🙉🙊┌( ಠ_ಠ)┘ [◉"]
Since we're talking Zombie Apocalypse movies, may I suggest "Train to Busan"
https://www.youtube.com/watch?v=E2nrE9JnaDg&t=46s
https://www.rottentomatoes.com/m/train_to_busan
https://www.youtube.com/watch?v=E2nrE9JnaDg&t=46s
https://www.rottentomatoes.com/m/train_to_busan
f.hayek
Well-known
The vicissitudes of the free market.
Many, if not most are mouldering in drawers somewhere, sad fodder for fungus and their hydrofluoric acid-etching. For those actually shooting stills with these lenses and value them, they'll always pay a little extra for a good copy.
joe bosak
Well-known
I found the shallow dof a bit distracting and pointless. Then again the film didn't exactly grab me from that trailer.
How does it compare to the look of Barry Lyndon? That's one film I've never worked myself up to go ahead and watch...
How does it compare to the look of Barry Lyndon? That's one film I've never worked myself up to go ahead and watch...
raid
Dad Photographer
I have a Canon 35/1.5 and a Canon 50/1.2, but not the 50/.95 which I have always found to be too large and too heavy for my taste.
Evergreen States
Pierre Saget (they/them)
Not Super 35 or its digital equivalent. Army of the Dead was shot on the RED Monstro 8K VV. The sensor size is 40.96 mm x 21.60 mm, which despite the different aspect ratio is modeled after the VistaVision format, which was 135 "full frame" exactly - down to the film running through the camera horizontally.