"We want to present this in a scientific way, but also a very unbiased way, so it's a genuine apple-to-apple comparison.". 'Old Fast Glass' Has a Massive Collection of Rare Lenses for You to Rent, Battle of the Lenses: Performance (New) vs. We can't take that lens from you.". And lenses are obviously all the rage right now—everyone wants vintage lenses because of the advent of digital cinematography. But it's like anything. Just like Kyle said, when we were in testing and we started to go through a few sets of lenses, I remember somebody was like, "Hey, this is working." I didn't think it would be that dramatic right off the bat.". This is the sharpest lens in the set.". Both offer great value to indie filmmakers, but the photo lenses are the real steal in terms of quality and price. You're really getting to see exactly what these things look like. There's only so many. What is something that you would want to see on a test that isn't usually in it?" You don't necessarily get the most aesthetically pleasing image. "I was really scratching my head early on seeing how different [the lenses] were set to set. It … ARRI / Zeiss Master Prime Canon K-35 Cooke Speed Panchro Series II/III Kowa Cine Prominar Leica R Lomo Round-Front Anamorphic Nikon AI-S Zeiss Super Speed MK II/III I think of this lens as the humble do-it-all. Needless to say, unless you have a real side-by-side lens shoot comparing the exact same scene with the exact same lighting and cast, it’s hard to discern between lenses. If a lens can give you an aesthetic that you are really happy with, and it's going to save you a ton of money and you don't mind making those sacrifices, that right there is super valuable. Don, believe me, we wanted to do it. Then jumping to the 21st century with the master prime, and seeing just how different the housing and everything is. I really appreciate the hard work you put in it. Some of the other lenses definitely take more creative liberties. It's 100+ pages on what you need to know to make beautiful, inexpensive movies using a DSLR. Seen below is an example of a previs of our setup, created with Matt Workman'sÂ Cine-Designer. Vimeo's API is much easier to set up and manage as well. They can look at the raw file, they can lift the shadows way up so they can see deeper into the shadows to see what that vignette really looks like if you were to color correct it a little bit. They are able to see those on their computer, and then they can toggle through it. They're made with lead. The only variable that changed at all was the lens itself—that's making it so obvious how different these all are, how unique they are. Like, you read, "Oh, this lens is not sharp. Though we did shoot a chip chart, we didn't have a bunch of technical stuff within the frame, because we wanted to make it aesthetic. 8. When we went to that first vintage set I thought I did something incorrect on the camera, because the difference in the vignette and the coverage—it was just so much muddier. Both offer great value to indie filmmakers, but the photo lenses are the real steal in terms of quality and price. So rental houses, collectors, and the like are dusting off what used to be forgotten lenses, and filmmakers are renting and buying them like never before. There's no BS. "I wanted to create the lens test that I've always been wishing for when I've been doing my own research.". I don't think anyone's going to pay a million dollars for a set of Baltars. Color temp, contrast, sharpness, vignetting...it all changes for each lens, and unless you have a resource like this to truly compare these many scenarios, you can never really grasp the range of differences. And I think Canon is kind of in that same range. Some vintage lenses will even perform some of the same electronic functions as their newer counterparts, like autofocus and lens correction. What shocks me the most is the varying degrees of differences you see—not only brand to brand, but even within each brand. If you can benchmark this many lenses, you can batch upload to YouTube. Vintage Camera Lenses Vintage Photography from Analog to Zeiss. Just go to: http://blog.sharegrid.com/ultimate-vintage-cinema-lens-test and scroll down to About The Lenses and you'll see download links for each set! I think people are starting to realize that, "Oh my God! I've gotten all kinds of information from RED user. You're just getting sharpness, color resolution. We're trying to educate our filmmakers and our community. We shot RED and we shot Dragon Color 2 and Red Gamma 4. There are no winners or losers. SHARE it: https://shareitfrpc.com/, September 29, 2016 at 11:24AM, Edited September 29, 11:24AM. Most prices have become too crazy to justify spending that much. Especially those lomos, I love the anamorphic look. It was almost like, "Oh no, are we pulling some curtains back and the big secret is that all lenses look the same?" We love the Lomos Logan!! Barbano: The color shift is just so shockingly different. "We wanted to make it aesthetic. Stryker: Originally, we started with a Master Prime, and whenever we went to our next set I was a little bit confused. I feel like a lot of people just kind of default to Cooke S4s. And in test like this it's super important to have best possible image quality. Used Cinema Equipment Our wonderful location got donated. We modify the legendary vintage lenses for videographers to create a true movie. We made the adjustment to change the shutter and modify our exposure a little bit more than we typically would just so you get a clearer representation of what the lenses are. Now, digital makes things so clean that I love that we have this urge to dirty up the frame and to make things look more interesting. I think that speaks to the community that we have. The coronavirus (Covid-19) pandemic has not affected our workflow. But I was really scratching my head early on there seeing how different they were set to set. NFS: Are there any plans for big-screen viewing? LaFleur: We kind of had two budgets. Since we have it all written down, we can actually create an overhead to give people an idea of what the actual setup is, like what types of gels and how hot the key was, this was the fill, etc. Far superior end user experience. Watch below where Workman breaks down how to use our library. Mark LaFleur: To show people what these lenses look like, it's a lot easier to show a video than [to try] to describe them—it ends up becoming like two people are speaking two different languages. Our first and second AC were very meticulous which was essential for something like this. To a certain extent, I think some of it is actually legitimate because they are rare and they are special. People are just excited about doing something like this because it's something you do one-by-one. Two of the most popular lenses are the Helios 58mm and the Mir-1 37mm. Usually, it's with your camera assistant with overhead florescent lighting, and it's not really a good controlled environment. Thanks for sharing this, it was great! Stryker: Sometimes, producers get stuck on what's the popular gear at the time. Maybe you got your hands on one of their Cinema Cameras like the C300, C200 or the new C500. Thanks for the writeup! You can go to a resource where no one is trying to push a lens on you, or talk it up, or talk it down. Your submission has been received! They can come see for themselves. Stryker: I think it was really kind of interesting to see the patterns from the 1940s through the 1960s. Subscribe to receive the free PDF! Luckily I have amassed most of my vintage gear about a decade ago and hundreds of lenses... Adapter Guide. It's never too late to finish the job. Got it. LaFleur: I think one of the biggest advantages DPs have now is this amazing access to the internet and forums. Which I think was a good thing to do, because I think everybody wants to see a test like this, but I don't think they realize that it is actually not the easiest thing in the world or the cheapest thing in the world to put together…especially with this many lenses. Barbano: Yes, and there is going to be a BTS video, which will give you a better understanding of the entire shoot. Lenses. Barbano: We had been planning to do a smaller test with Duclos Lenses for some time. NFS: Web is actually the perfect format because 90% of new videos and commercials live on the web.