Why I DON’T use CINE LENSES?
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- Опубліковано 21 сер 2024
- You want to purchase some cine lenses? Maybe check out this video before you buy. Following is a real world scenario demonstration of why photo lenses are often a better choice for video, instead of cine lenses.
00:09 Why do I choose photo lenses?
00:12 good quality as well
00:32 light weight
00:40 less accessories
01:07 optical stabilization
01:13 smaller form factor
01:47 auto focus
01:59 easy to operate
02:39 shorter minimum focus distance
02:57 cheaper
03:23 I know, I know…
03:34 same size easy to adjust
04:02 gear ring
04:32 breathing
04:46 Why do I choose cine lenses?
04:52 style
05:21 parfocal
05:57 declicked iris ring
06:23 impression in front of client
If you have any questions feel free to ask them down in the comments below.
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Excellent video. For example, I think for most filmmakers who work in developing countries, it's a no brainer. Photo lenses are more versatile, less expensive and client's won't know the difference
4:33 - YES! "Breathing" gibberish is wanker factor talk. Love the vid, shout out to Laowa lenses
There are quite a few photo lenses that are parfocal, the Canon 28-135 in particular. The build quality and glass is not quite as nice as the 24-105 however, so you have to compromise one way or the other. I also know aperture rings can often be de-clicked and there are permanent options for adding gears. A list of parfocal lenses would be really helpful.
Your video is not complete, it sounds a bit like if you just gave a biased version of the story for those who can't afford cine lenses and only want to hear that they don't need them.
You forget that a long turn of the focus ring is essential when you want to nail focus of more distant objects/subjects. Photo lenses usually have very few very near marks at the end, like, 2m, 3m, and infinite, good bye. While serious cine lenses have decently spaced marks for 2m, 3m, 4m, 5m, 7m, 10m, 15m...and with a bigger size ring, it allows a much bigger precision. Try to manually track focus of moving subjects at 4 meters at T2 (or less) and with only a couple of degrees of rotation in which you go from 3m to infinite! Good luck with that...
You also forget that PL mount is extremely more robust than photo lenses mounts, and this brings two advantages: in most cases you won't need a lens support, and the lens itself will be much more stable, while a number of photo lenses suffer of micro-jitters when you pull focus.
You make confusion with the meaning of "the shape and size of cine lenses have standards"! It means they have same distance of rings within the same family of lenses! During quick lenses changes you won't have to move all the time your motors because iris and focus will have always the same distance! It doesn't mean that all cine lenses of all brands are the same, come on! And yes, sometime that Laowa macro is used, but, not in all shots of all movies, and usually DPs tend to use a whole set of similar lenses in order to achieve colors coherence. Photo lenses are all different (and less color matched even in the same family, from my experience)!
And man, when switching lenses with hard stops it is sooo much faster to calibrate every motor with one click, than having to worry about those rubber gear and the lock that is in the way, and where is infinite where is the other end (though there are ways to partially solve the lock problems with manifacturers making custom rings, but the lack of hard stop is still there).
They usually have standard size external diameters, so that you need only a limited amount of attachment sizes (95, 114, 110 or 134), to be able to attach matte boxes to every lens, and use the same filters for every lens, without the need of step-up rings or such things. So you just need to spend money to have standard size filters for everything, instead than some 77, some 72, some 82, 67, 62,58.. a mixed amount of step-up rings and so on.
You also forgot the general sturdier construction of cine lenses, all made in metal, instead than plastic and more fragile materials of photo lenses.
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