Sony Alpha 6300 next to a7S II with Zeiss Compact Prime lenses. Both of these cameras shoot beautiful 4k quality video. Both are available for rentals.
Photography by Tedd Dezore.
Zeiss Compact Prime CP.2 Super Speed T1.5 lenses now available for rentals in downtown Fort Lauderdale with Sony a7SII and Metabones IV Canon EF adapter. Shoot amazing quality 4k footage with this camera package and Zeiss quality full frame cinema lenses. For rental inquiries email email@example.com
We now have the Sony Alpha a7S II that shoots 4k internally with great low light capability and high dynamic range of 14 stops. Camera comes with the Metabones IV adapter to allow usage of Canon EF mounted lenses. Canon 5D Mark III package is also still available with battery grip. We also have the Zoom H4n audio recorder, Rode VideoMic, Sennheiser wireless lavaliers, Pocket Wizard for wirelessly triggering strobes, SmallHD AC7-OLED monitor, Tiffen ND variable filer and Tiffen circular polarizer. For lenses we have the Zeiss Compact Prime CP2 Super Speed cinema lenses and also Canon 24mm f/1.4L, 50mm f/1.2L, 85mm f/1.2L and 70-200mm f/2.8L.
for rental inquiries contact firstname.lastname@example.org
Experienced Digital Image Technician service available with inclusive package of maxed out 27″ 5K iMac plus a second 30″ Apple Cinema Display, GRAID 8TD Thunderbolt Drive, full suite of Adobe Creative Cloud 2015, Final Cut Pro and Davinci Resolve. Email email@example.com for affordable rates.
Over eight years experience on hundreds of shoots with RED One Mysterium, RED One Mysterium-X, RED EPIC Mysterium-X, RED EPIC Dragon, ARRI Alexa, Canon C300, Canon 5D and Sony FS7 shoots.
A quick search on Wikipedia succinctly defines “bokeh” as; “(Originally /ˈboʊkɛ/, /ˈboʊkeɪ/ boh-kay — also sometimes pronounced as /ˈboʊkə/ boh-kə, Japanese: [boke]) the aesthetic quality of the blur produced in the out-of-focus parts of an image produced by a lens. Bokeh has been defined as “the way the lens renders out-of-focus points of light”. Differences in lens aberrations and aperture shape cause some lens designs to blur the image in a way that is pleasing to the eye, while others produce blurring that is unpleasant or distracting—”good” and “bad” bokeh, respectively. Bokeh occurs for parts of the scene that lie outside the depth of field. Photographers sometimes deliberately use a shallow focus technique to create images with prominent out-of-focus regions.”
When deciding what lens to go with for a particular scene, choosing between the Canon EF 85mm f/1.2L II USM Lens and the Zeiss Compact Prime CP.2 85mm T/1.5 Super Speed can seem like only a matter of personal choice or budget, but when bokeh is desired either during night scenes like the exagerrated examples below; or day scenes, where the use of shallow focus is used to isolate the subject in the frame, the choice can actually make a bit of a difference.
To show the difference between to the two lenses, we went down to the Las Olas Riverfront area of Downtown Fort Lauderdale where they’ve strewn beautiful lights over the roadway. All shots were taken with the aperture wide open.
It’s widely accepted that having a rounder bokeh is considered the most desirable. However there is always artistic freedom, and some like the imperfect bokeh. Some also make and use bokeh filters to create artistic effects in photography. In the case of these two lenses the Zeiss CP2’s are superior in the roundness due to the 14 Blade system which creates an almost perfect circular bokeh. On the other hand, the Canon L series lenses have an almost perfect bokeh in some situations. This is due to Canon’s 8 blade system.
In order to understand what would create the difference, take a look at the two polygons below and imagine the corners of the blades inside the lens coming together and light shining through them. It’s easy to see then, in the images below why the Canon pictures have cut corners and the Zeiss lenses have mostly perfect circles. In the shots from the zeiss lens, it is noticeable that there were some oval shapes due to the angles of light, and curvature of the lens, but none of the abrupt cuts that were found on the Canon lenses.
We love having both sets of lenses and have found very satisfying effects with both, but our choice would definitely be the Zeiss lenses for bokeh shots. If your interested in learning more or testing the differences in the bokeh from Zeiss to Canon email us at info (@) facetmedia dot com.
Last night (Saturday, June 13, 2015) during the busy Wynwood Art Walk, RED had the grand opening of their new Miami store. To kick off the event they invited local Red Owner/Operators from all over South Florida. It was awesome seeing so many RED owners from the REDuser.net online community in real life. We met local RED operators Frazier Nivens and Michael Hastings and many others from the forums. We were happy that we didn’t miss this event. It was a full catered affair with delicious refreshments, lots of drinks and a happy interactive crowd. On top of that we had Egon Stephan Jr, owner of CVT (CineVideoTech) on hand with a RED EPIC Dragon with Leica cinema lenses on an easy rig filming the event. It was awesome just holding that lens in my hand for a brief moment. The RED Store Miami also had the soon to be released Red Weapon Dragon with 6k sensor on an ARRI gear head in store to play with. It was awesome to get our hands on it.
I have to say a big THANK YOU to Freddy Rodriguez, the store manager, store staff, and also to CVTRUMBUM for providing the catering and epic event (no pun intended). CVT and RUM BUM have now partnered together and are now one of the premier rental houses and production companies in South Florida. I can only see the presence of RED in Miami with local production houses nearby as a big movement that will only enable the cinema culture to continue to grow. God knows its awesome to drive to Miami now to get small items like REDvolts, chargers, etc… instead of ordering it all the way from California and waiting days for it to arrive. Thank you RED for always looking to the future.
We often get asked by clients, whats the difference between the Canon 5D and RED EPIC? This simple test will at least show one main difference between the two cameras. That difference is how the RED protects highlights (bright areas of a scene) more due to a greater dynamic range of its sensor. Details in the shadows are also retained more. This is clearly evident in the exterior scene of the balcony in the frame grabs below and also also in the darker areas of the shadows.
Dynamic range is the difference between the lightest light and darkest dark which can be observed in a scene. Once your subject exceeds the camera’s dynamic range, the highlights wash out to white, or the darks become black blobs. Canon 5D has 11.8 stops of dynamic range… each stop doubles or halves the amount of light depending if the light is increasing or decreasing. The RED EPIC Dragon has 16.5 plus stops.
Canon 5D Mark III camera settings & config:
Canon 24mm prime lens at F5.6, ISO 250, shutter 1/400th, 5600k color temperature
RED EPIC Dragon camera settings & config:
Canon 24mm prime lens at F5.6, ISO 250, shutter 1/400th, 5600k color temperature, Dragon Color 2/RED Gamma4 (color science), Skintone OLPF
Time of day was around 2PM with approximately the same amount of cloud cover for each scene. Light source was one 1000 watt Tungsten, placed in the front to the side.
This is what I was expecting to see in the highlights. In the shadows you can see that the color science of the RED EPIC Dragon which defaults to DragonColor2/REDGamma4, presses the blacks down more. This test also gives a Director of Photography an idea what the minimum amount of lighting would take to brighten up the interior during a daytime scene. Considering that only one 1000 watt ARRI fresnel was used in this test… you are looking at least at a 1800 watt HMI to brighten the interior of the room while protecting the highlights of the exterior. Another trick would be to gel the windows. Since the glass sliding doors were opened halfway… on the tinted side to the right… you can see a comparison of how the scene would appear if the doors were closed and gelled to reduce the light.
If you’ve got questions or have a camera that you would like to compare to the RED EPIC Dragon… let us know and we’ll do another comparison. You can email info (a) facetmedia dot com.
Before we purchased the Zeiss Compact Prime CP.2 lens set we had RED Pro Primes which were all an aperture of T1.8. We decided to switch over to Zeiss Compact Primes due to the advantages of being much lighter weight, a faster aperture of T1.5, Canon EF mount for compatibility with so many DSLR cameras and full frame sensor coverage. The system also offers compatibility with PL, F, MFT and E mounts. This allows for easily switching on set between say a RED EPIC Dragon and a Canon 5D or a Blackmagic Cinema Camera. We love this versatility and it definitely comes in handy. It’s a fast lens set, great for any low light scenes and also cinematic shallow depth-of-field and provides complete coverage of full frame 24 x 36 size sensors. The lenses are also color-matched with the rest of the CP.2 lineup, and so swapping it with another from within the set can conveniently be done without correcting for changes in post.
The fully manual lens set is amazing for focus pullers that need precise focus measurement marks. The manual focusing ring is amazing with 300 degrees of rotation and measurement marks are well spaced. The front diameter is consistent across the lens set. Switching donuts is not necessary when changing lenses on your matte box. All lenses in the set have fourteen iris blades which gives a perfectly circular smooth bokeh. Also, the lens elements are aspherical with Zeiss T* coating and internal light traps that handles flaring exceptionally.
With the advancements of large sensor cameras such as the Vista Vision RED Weapon 8K about to hit the market at the end of the year… we are glad that we made the switch to a lens set with full frame coverage.
Lenses are available for rentals here: