Earlier this month, long-time Abel client Daniel Dacian of BigAppleFilms shot some nice low-light tests using Arri Master Primes and Hawk Anamorphics on their RED Mysterium-X. They used only the light they found, with the exception of one Litepanel (the video says it is a Litepanels Micro, but it is actually a Litepanels Mini Flood) to give some fill for the exteriors. The shoot starts out in Brooklyn Bridge Park, then moves indoors for more tests, the only light coming from a half dozen lit candles. Abel’s own Gregger Jones assisted on the shoot, and you can find the full video here: www.bigapplefilms.com/lowlight.html

Why change the mount on the camera when you can change the mount on the lens? Zeiss will soon ship a version of their Compact Primes in Canon EF mount for EOS cameras such as the Canon 5D Mark II. The Zeiss Compact Primes are designed to cover the full 24mm x 36mm image area of the stills format, and these new lenses will come with the facility to swap out the mount to PL (and who knows, maybe something else in the future?). This makes the Compact Primes the “Everything Lens Set” for use on all popular cameras. These lenses are inexpensive and lightweight, yet built to professional cine standards with integrated gearing and large scales. Stills format lenses often have weak mechanics, nearly-useless focus scales, servo drives with “infinity spin” focus dials, image shift and breathing in the focus, and axial-expansion that hampers use of accessories such as matteboxes & follow focuses. All of these issues are removed with the new Zeiss Compact Prime Series II lenses. Above is a photo of a prototype at the Zeiss factory and the lenses will debut at NAB in April (come visit our booth #C8740).

In the last few years, MTF has become a buzzword in both cine and HD lens circles, but there is still a lot of confusion about just what it is, what it can and can’t do, and what it means to the cinematographer in a practical sense. In this article, I will attempt to clear up some this confusion by explaining what MTF means from a technical standpoint.

You may already know that MTF is an abbreviation for Modulation Transfer Function. MTF provides a way to objectively measure image sharpness in a practical and repeatable way that also correlates well with subjective perceived image sharpness.

The smallest practical unit for measuring image detail is a line pair, which is a black line and a white line, side by side. The measurement is line pairs per millimeter, and not lines per millimeter. It is very important to note that we are always talking about a black and a white line pair, and we are counting them as one line pair (1 lp/mm). In the digital realm, we need at least one pixel to represent the black point, and one to represent the white point. So we need a minimum of 2 pixels to image 1 line pair.

…continue reading What Is MTF?

Lately we’ve been getting a bunch of questions on 4.5″ polarizing filters. There are several variations which can get quite confusing for those that are not familiar with them.

So here’s a rundown on the essential parameters:

4.5 inch is in fact the same as 114mm. Different manufacturers use metric or imperial. Likewise, some manufacturers refer to 138mm as 5.5 inch. These are both round filters.

…continue reading 4.5″ Polarizing Filter Variations Explained

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We just received our first shipment of the PMW-350 cameras, including four that went into our rental department. The demo units I received in the past did not have the Fujinon lens that the camera ships with, so this was my first time seeing the new lens. Watch the video above to see my impression of the lens. You might also be interested in the two part series on the 350 camera that I did when the camera was announced.

A complaint often expressed by Sony EX1/EX3 owners is the infrared or far red contamination frequently seen on dark fabrics. Sony’s EXMOR sensors are designed to see a huge amount of color, or what Sony calls “broad spectrum colors.” This is a great thing, because these Sony cameras can capture more color than ever in a digital image. The negative effect of this, however, is that they’re also able to see some red colors that our eyes cannot see. This shows up particularly in dark fabrics, where the red contamination turns greens into muddy brown and some blacks will turn magenta…not a good thing. Up until now there was not much you could do about it, but thankfully Tiffen came up with a solution. They have created the T1 IR filter, which is designed to reduce this contamination but still maintain the wide range of colors. I’ve done some tests to compare an EX1 camera with and without the filter, and the difference is quite obvious. In short if you are an EX1 or EX3 owner, the T1 IR Filter is a must have. Keep reading to see comparisons and how the new EX1R and PMW-350 perform.

…continue reading Tiffen T1 Far Red Filter and the Sony EX Cameras

Abel Cine Tech’s first rental of the Panasonic GH-1 / Hot Rod Deluxe combination was an unusual one. When this camera and Hot Rod’s PL adapter for it first appeared in prototype form, the internet was abuzz with indie filmmakers looking to use the rig for low budget productions, but our first client saw it as a very different device. Pictured above is the rig with a Hawk 35mm anamorphic prime, a lens so large that it requires a bridgeplate support. Abel rigged out a solution, and the system went out with the DP and Director for a weekend tech scout. The production itself is a medium budget feature to be shot primarily on the RED One camera. The tech scout is also a test of the Lumix GH-1 rig to see if footage blown up to 35mm filmout will hold up well enough to intercut with the RED One. If so, the Lumix will work as both a Director’s Finder during setups as well as a B-camera for the shoot.