This can be important when you’re working quickly. Parfocal lensesĪ parfocal lens holds its focus when you zoom in and out. So you might prefer lenses with mechanical focus rings made by third party manufacturers, or vintage prime lenses which were designed for manual focus. But it doesn’t work well if you want to pull (change) focus manually. This is OK if you mainly use autofocus, or if your camera allows you to preset focus pulls. Many modern camera lenses are ‘fly-by-wire’: you turn a physical focus ring, but an electronic motor adjusts the focus. The focus will change differently depending on how fast you turn the focus ring. This can be important if you need to work fast without a tripod. Other important features Image stabilisation My recommended filmmaking lenses for Panasonic and BlackMagic MFT cameras If you need a more exotic lens – such as a full-frame ultrawide lens or a fast telephoto – it’s best to hire it unless you’re sure you’ll use it regularly. You could also get a wide to ultrawide zoom for close range, handheld shooting. You won’t have to change lenses, and the exposure won’t change as you zoom in and out. If you can afford it, get a constant aperture zoom that covers the range from wide to medium telephoto. You can buy matched ‘cine primes’ which will give you precise control over exposure and focus, but they’re expensive. On a budget, go for used manual focus primes with an adapter.įor news, events and documentary, one or two good zoom lenses will be quicker to use. After that, I’d get a high quality wide angle lens.įor creative and narrative filmmaking, a set of prime lenses will give higher quality and more ‘cinematic’ shallow focus effects than zoom lenses. This is ideal for closeups with shallow focus backgrounds. If you’re on a budget and you have a camera with the kit lens, your next buy should be a medium telephoto prime (non-zoom) lens. What are the best lenses for filmmaking with a DSLR, mirrorless or cinema camera?
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