While this may not be totally scientifically accurate, for someone who might not be that familiar with the differences that lenses create in the filmmaking process (and photography too), this test really appealed to me
It can be eye opening to realize that the lenses have so much impact to your process.
You may be smacking your head after watching saying “of course” – and many of you are well beyond this knowledge, but I just thought it would help some of you newer converts to filmmaking to see someone who's put a whole bunch of different lenses on and shot the same subject over and over under the same lighting conditions.
Yu may want to do your own testing as well when you begin a new project – or just do this when you can so you can learn what lenses do to your images!
RED Dragon Visual Lens Comparison
Monster lens comparison test. t.co/KttCU0HCjP Not sure what this proves exactly. Like those Cooke S4 minis
— Robin Schmidt (@DirSchmidt) June 20, 2014
Via Explore Media in Youtube:
Welcome to the Lens Comparison Guide for Directors & Producers! Shot on RED Dragon 5K, this guide is displayed in 4K if you've got an ultraHD monitor check it out!
We compared Angenieux, Cooke, Zeiss, ARRI Fujinon, RED Pro and Canon Prime lenses, both primes and zooms, to give us an idea of what each lens visually looked like compared to each other. To compare these lenses, we used Daufenbach Camera's Epic-M RED Dragon 6K sensor (captured in 5K) to capture the image. We also used 50mm as our base focal length, and for the one lens where a 50mm wasn't available, we used a 35mm.
This is not meant to be a technical specifications comparison. Mostly because we don't know the technical answers! But we can see the characteristics, qualities, and even the emotion of a lens, especially when different cinema lenses are compared side by side. We hope this guide helps you make the right lens choice for your next commercial or film production.
NOTE: For a baseline Color Correction, Kelly Armstrong from Color Playground says, “we chose the most “color neutral” lens to set our initial, “base” grade to, the RED Pro Prime. Primarily using the supplied chip chart, gain levels were kept under peak 100 and pedestal was left well above 0 so any anomalies with how each lens handled shadows or highlights could be easily seen and compared. This base correction was applied to each image regardless of which lens was used.”
There also is a ProRes 4:4:4 option if you are interested in seeing full color space, but it's 10.5GB so send a note and we'll get you a link!
Special thanks to Lights & Motion and Deep Elm Records for the music track “Texas” www.deepelm.com/lightsandmotion , Lawrence Daufenbach, Stephen Wheeler, and the entire Daufenbach Camera Crew. Dave Wingate of Auslynn Films for sitting in for us as on-camera talent. John Waterman for assisting us on camera. Jamieson Mulholland for ideas and for the gorgeous professional cinematographer's eye. Kelly Armstrong of Color Playground for patiently putting together the baseline correction. Michael Dicken of Explore Media for revising and uploading this file countless times.
(cover photo credit: snap from the video)
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