Nikon® Cine Lenses
Okay, so I want to take a little side trip and talk about the world of movie making because they use lenses and they need lenses that have different requirements than we need it's still photographers look at the prices I'm not going to include too many prices on screen but look at the prices of some of these lenses and these air lenses that are designed to meet somebody's needs who really wants great image quality but has a different set of needs than a still photographer and so I want to take a look at photography lenses versus cinema lenses so that you can kind of appreciate why are lenses are designed with the way they are so first off we like quick auto focusing so that we can quickly get something and focus the movie lenses are all designed for manual focus nice smooth manual focus on it we want to be able to change our apertures very very quickly from one setting to the next in some cases a movie camera is panning across the scene and somebody is changing the aperture setting as ...
the camera moves and they don't want to go in third step clicks they don't want to jump jump, jump they want a nice smooth change from this setting to that setting so somebody's actually manually changing it on the land we like lenses that are generally the smallest possible size on movie cameras they're being held on jj, ibs and rigs and steady cams, and they're put in matt boxes and it's very convenient. If all the lenses are about the same size and so a lot of the lenses within certain parameters are very close in size and weight, whereas we don't really care about that. Generally, photographers own their own equipment. Yeah, we can rent a lot of stuff is we get parental stuff here, but most of us own our own equipment. Where is that? The price is that you saw ninety nine thousand dollars for lance? Most people don't own a lot of those lenses. They rent him for the time of their production. And so it's rental property and it's a crew that's operating it and that's kind of different requirements than just an individual who owns a particular lance. So there's a lot more differences. We like to use f stops, cinema uses t stops. They're similar, but they're different. The basic difference is that an f stop is theoretical. A t stop stands for transmission that's the actual light that comes through. If there was five of us all out shooting at f two point eight and you were to do a really close analysis of the exposure, it would be slightly different, maybe five, ten, fifteen percent different. And for you shooting pictures and you and me, it doesn't make much difference because we're not shooting those pictures and showing them one right after another. But when cameras are shooting and they're switching camera angles, you go from shot to shot immediately and you'll notice the smallest difference in exposure. So we got a little bit of sloppy room in here, and you can actually find out I'm going to give you a location that you could go to to find out what the tea rating is on your land. How much light is actually transmitted through the glass? We like to have auto focus and manual focus. The cinema lenses are manual focus only. All those movies you see, somebody is on the camera manually focusing it. They're very precise about their set up shots. We like doing things and third steps generally because it's about the smallest increment that we will notice. Yeah, that one is brighter than that. That one is darker than that it's a nice little increment for us to work in. But as I mentioned before, that panning system where they like to use their step lis aperture is a different system where they can set any setting they want. We're gonna have our focus scale on top because we're holding our cameras and looking at it like this a lot of times the movie cameras were up a little bit higher or somebody's off to the side because the person pointing it is behind it but somebody who's doing the focusing is off to the side of it so there'll have focusing scales over on the side short focused how far do you turn the lens to go from infinity to close up on our auto focus lenses it's often a very short throw just a little bit here a little bit there infinity close up infinity close up and on a movie lands it's infinity on close up because they want to be able to find tune and focus manually on someone at ten feet or twelve feet or fifteen feet or eighteen feet different types of needs a number of other differences as well a minimal focus breathing I'm gonna explain this this is where the lens actually changes magnification while it's focusing the size changes I got a nice little video to show you I'm not coming up here in a moment pretty much all the sentiment lenses focus internally because they're mounted in these housings and it's just would be terribly inconvenient if they're zooming back and forth we have a mixture sometimes we get internal focusing sometimes we don't depends on the lens and the quality of the level of the lens they also want to zoom really smoothly we don't care it be nice to zoom really smoothly but we're just more interested in getting to point b not what happens between point a and point b whereas in the movies they want to have this nice smooth zoom and they need to have that really smooth otherwise you notice the jerkiness in the video so there's very different requirements as far as actual sharpness of the lens typically photography lenses are sharper because we have higher resolution still cameras then they have movie cameras but the construction issues make that very challenging to do and make them very, very expensive to make which is why their prices our five thousand to one hundred thousand dollars for very similar type equipment with nikon they do not specify this ok, I don't work for them I get to say whatever I want that they do have kind of three clear different categories as faras I can separate they have their entry line entry line of lenses which are typically going to be plastic mt a lot of plastic he built two on plastic focussing ring and they're going to have a slow aperture like three point five five point six next up is kind of what I would call the mid range we're goingto have metal lens mounts were gonna have that silent wave focusing motor and um we're going to have a wider focusing rings that are rubber coated, little bit easier to work with. We're going to have our distance scales in here. We're going to have a manual focus override, which allows us to just grab the lens, turn it and focus overall better construction. And these will generally have a gold stripe on him, and then the top of the line are going to be their professional siri's. And once again, there is no clear line and distinction between midline and professional. So this is just kind of at a certain point. But here is just where everything gets to be the very top quality, the exotic glass that we're going to talk about here in a moment, a lot more metal construction than plastic, and they typically have very fast apertures on him. And so those are three different kind of ranges, and you could pick a lands, look at the characteristics and probably place it into one of those three categories pretty quickly and easily.
The world of interchangeable lenses can be both exciting and confusing to all levels of photographers.
Nikon® Lenses: The Complete Guide with John Greengo will help you choose the right lens and get the most out of all of your lens investments. John Greengo is the master of making complex photography concepts easy to understand and in this class, he’ll bring all of your
Nikon® DSLR lens options and operations into focus. You’ll learn about:
- Focal length and aperture
- Nikon® zoom lenses
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