In Broadcast - January 2013 - 32


I N T E R N A T I O N A L

N E W S

WWW.INBROADCAST.COM | ISSUE 15 - JANUARY 2013

InFOCUS

Lenses: The Film Heritage
The lens selection remains a crucial aspect of any shoot, particularly as video resolutions begin to exceed film resolution…
these optics from the French manufacturer, Wolski is on record as saying that the short Optimo zoom is the “most revolutionary lens in the industry.” He notes the speed of shooting he is afforded by such a high quality and versatile zoom.
Canon continues to expand the Cinema EOS options

By Kieron Seth Contributing Editor

I

n 1986 a futuristic horror film came out of Pinewood which marvelled in space technology and revelled in dreams of military ingenuity. Shot on ARRI’s very latest Arriflex 35III camera, critics delighted in the cascade of special effects created by a massive team of industry veterans: this was film making on the edge. So it comes as quite a surprise to learn, especially in today’s world of fast turn-around product development, that the director of photography used a set of Canon K35 prime lenses whose design was old enough to have seen them win an Academy Award in 1977. Teleporting (as is entirely

appropriate in sci-fi) to 2012 and the release of the latest chapter in the Alien saga, Prometheus (2012), we find the Red Epic paired with Zeiss Ultra Prime and Angenieux Optimo Lenses. Again, the camera is clearly state-of the-art, but what of the lenses? Ultra Prime lenses were introduced in 1998 as the next generation ‘standard’ lens. The second set of lenses in director of photography Wolski’s kit bag was the 15-40 and 28-76 zooms, both introduced comparatively recently: in February 2009, Angenieux won the Scientific and Technical Oscar from the Hollywood Academy of Motion Picture Arts and Sciences for these Optimo models. Praising

Zooming Ahead
The rise of computer CAD systems and advanced engineering have certainly enabled research and development teams to create far higher performing zoom lenses than could be dreamt of even twenty years ago. Indeed, such was the flexibility and capability of the A ngenieux lenses that for Aliens the exceedingly sharp and well respected Zeiss Ultra Primes were used largely only on a Steadicam rig, on accord of their light weight and small size. A telling victory for zooms over primes? Recent international exhibitions have indeed thrown the spotlight on exceptional multi-focal length lenses. Canon’s new Cine-4K Zooms and ARRI’s Alura models have been very well received with excellent results in independent tests. The extraordinary CN-E30300mm with an 11 blade diaphragm delivers T2.95–T3.7 performance - exceptionally fast for an optic – has a high (10x) zoom factor. Smooth, precise, fast, adorned by full focal length markings, the Canon Cinema lenses are 4K cinema ready, producing high quality results with minimal focus breathing and nicely rendered out of focus backdrops. Do modern primes still have an advantage beyond shooting a stop faster and having a smaller, lighter form factor? Paraphrasing the words of Les Zellan from Cooke Optics, it’s the wrong question to ask. For him and many film makers, the choice of lens can often be down to the preference of an individual story teller, or just as importantly, even of a particular generation: “We’ve been a ‘prime lens era’ for around 15 years, but there are younger film makers coming up that were raised on little

32

zooms for Canon XL1s, so perhaps we’re seeing a shift towards zooms.” This view only goes so far in explaining the recent popularity of zooms and the launch of a number of new models. Equally pressing are the financial pressures film makers are under to deliver shots quickly; clearly flexibility, versatility and speed of camera set up are on the side of zoom lenses, particularly where lighting levels are adequate.

Prime Not Primeval
When it comes to prime lenses, whether it’s Cooke S4s or Zeiss Master Primes, there are very small optical differences between these products, such as the ability to handle bright point sources or their sheer resolving ability. Indeed, arguably few could differentiate a shot captured on any of the newly developed leading lenses. It goes without saying that when shooting scenes at very low light, F stop is all-important. Without doubt

Award-winning Angenieux Optimo 45-120 CONTINUED ON PAGE 33


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Table of Contents for the Digital Edition of In Broadcast - January 2013

In Broadcast - January 2013
Contents
InNews: Harris Corporation Agree Sale of Broadcast Communications
InNews: Grass Valley Opens Solutions Center in Boulogne Office
InSound
InFocus
InStudio
InPlay
InFile
InTest
InMedia: Evolution of the Broadcast Systems Integrator
InMedia: Swedish Film Institute Chooses Divarchive 7.0
In Broadcast - January 2013 - Intro
In Broadcast - January 2013 - In Broadcast - January 2013
In Broadcast - January 2013 - Cover2
In Broadcast - January 2013 - Contents
In Broadcast - January 2013 - InNews: Harris Corporation Agree Sale of Broadcast Communications
In Broadcast - January 2013 - 5
In Broadcast - January 2013 - InNews: Grass Valley Opens Solutions Center in Boulogne Office
In Broadcast - January 2013 - 7
In Broadcast - January 2013 - 8
In Broadcast - January 2013 - 9
In Broadcast - January 2013 - 10
In Broadcast - January 2013 - 11
In Broadcast - January 2013 - 12
In Broadcast - January 2013 - 13
In Broadcast - January 2013 - 14
In Broadcast - January 2013 - 15
In Broadcast - January 2013 - 16
In Broadcast - January 2013 - 17
In Broadcast - January 2013 - 18
In Broadcast - January 2013 - 19
In Broadcast - January 2013 - 20
In Broadcast - January 2013 - 21
In Broadcast - January 2013 - 22
In Broadcast - January 2013 - 23
In Broadcast - January 2013 - 24
In Broadcast - January 2013 - 25
In Broadcast - January 2013 - 26
In Broadcast - January 2013 - 27
In Broadcast - January 2013 - InSound
In Broadcast - January 2013 - 29
In Broadcast - January 2013 - 30
In Broadcast - January 2013 - 31
In Broadcast - January 2013 - 32
In Broadcast - January 2013 - 33
In Broadcast - January 2013 - InFocus
In Broadcast - January 2013 - 35
In Broadcast - January 2013 - 36
In Broadcast - January 2013 - 37
In Broadcast - January 2013 - 38
In Broadcast - January 2013 - 39
In Broadcast - January 2013 - 40
In Broadcast - January 2013 - 41
In Broadcast - January 2013 - 42
In Broadcast - January 2013 - 43
In Broadcast - January 2013 - InStudio
In Broadcast - January 2013 - 45
In Broadcast - January 2013 - 46
In Broadcast - January 2013 - 47
In Broadcast - January 2013 - 48
In Broadcast - January 2013 - 49
In Broadcast - January 2013 - 50
In Broadcast - January 2013 - 51
In Broadcast - January 2013 - 52
In Broadcast - January 2013 - 53
In Broadcast - January 2013 - InPlay
In Broadcast - January 2013 - 55
In Broadcast - January 2013 - 56
In Broadcast - January 2013 - 57
In Broadcast - January 2013 - 58
In Broadcast - January 2013 - 59
In Broadcast - January 2013 - InFile
In Broadcast - January 2013 - 61
In Broadcast - January 2013 - 62
In Broadcast - January 2013 - 63
In Broadcast - January 2013 - 64
In Broadcast - January 2013 - 65
In Broadcast - January 2013 - 66
In Broadcast - January 2013 - 67
In Broadcast - January 2013 - 68
In Broadcast - January 2013 - 69
In Broadcast - January 2013 - InTest
In Broadcast - January 2013 - 71
In Broadcast - January 2013 - InMedia: Evolution of the Broadcast Systems Integrator
In Broadcast - January 2013 - 73
In Broadcast - January 2013 - 74
In Broadcast - January 2013 - 75
In Broadcast - January 2013 - 76
In Broadcast - January 2013 - 77
In Broadcast - January 2013 - 78
In Broadcast - January 2013 - 79
In Broadcast - January 2013 - 80
In Broadcast - January 2013 - 81
In Broadcast - January 2013 - InMedia: Swedish Film Institute Chooses Divarchive 7.0
In Broadcast - January 2013 - 83
In Broadcast - January 2013 - 84
In Broadcast - January 2013 - S1
In Broadcast - January 2013 - S2
In Broadcast - January 2013 - S3
In Broadcast - January 2013 - S4
In Broadcast - January 2013 - S5
In Broadcast - January 2013 - S6
In Broadcast - January 2013 - S7
In Broadcast - January 2013 - S8
In Broadcast - January 2013 - S9
In Broadcast - January 2013 - S10
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201612
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http://www.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOWNYexpo
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_20110708_DEMO
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201610
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201609
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201607
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http://europe.nxtbook.com/nxtbooks/lesommet/inbroadcast_APAC03
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201605
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOW2016
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201604
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http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201512
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