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.
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.
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.
We were honored to have Wyclef and Sandro Martelly aka T-Micky (son of the president of Haiit) in FACETMEDIA studio for the “Nou Pare” music video directed by Max Sainvil from NY. Shot on RED EPIC with Zeiss CP.2 Super Speed lenses on Friday March 28th, 2014.
Inner Circle featuring Ñengo Flow and Flo Rida “Fall In Love” music video shoot on October 28th, 2013. Directed by Dimi Bones. Stephen Brevig Director of Photography. Shot at FACETMEDIA studios in Hollywood, FL. FACETMEDIA provided DIT & Grip service, RED EPIC camera, Zeiss Compact Prime CP.2 Super Speed lenses, Dana Dolly, EZ FX Jib with Extension Kit, Kino Flo, ARRI M18 HMI and ARRI T1 Fresnels.
Love the lighting on this shoot with local Fort Lauderdale artist/producer Viziter. All studio practical lighting was recently switched over to daylight fluorescent which gives the studio a more natural bright sunlight look. Shot with the Photoflex 7′ Octodome3 softbox and four silver panels with three Novatron 2140c strobes set at 250 watts. The softbox strobe was set at one stop down. The backdrop paper is Plaza Gray which helps greatly in creating a color offset when the talent is wearing white, while still retaining the appearance of a white background.
Just finished the photo shoot with Viz from Nerd Squad Music. I’m happy with the Photoflex Octodome3 lighting… albeit a little over kill for a one person shoot. But it does serve a perfect scaling function of handling large groups or individuals, covering them from head to toe in gorgeous diffused lighting. Loving it.
Getting prepped for a photo shoot with Viz from Nerd Squad Music tonight. Luckily the huge 7 foot Photoflex Octodome3 soft box and Photoflex 900 speed ring that we ordered from B&H arrived this morning via UPS. This new acquisition will allow us to do large group photography. Before we were using two 4×4′ foot Kino Flos and the bare face novatron 2140c strobe heads but the key lighting was just not powerful enough for large groups. What I like about the Octodome 3 is the ability to have both a large face and smaller baffle for soft diffused lighting. Essentially two pieces of diffusion fabric for the light to go through. The gold and silver panels will also aid in warmer images.
Was quite surprised by the size of this thing… it’s impressively HUGE. Glad I never ordered two as originally planned. Also happy that we have enough Avenger C-Stands laying around that can accommodate the weight of the soft box and that the Photoflex mount seats perfectly on the 5/8″ stud. Here are some pics of the assemble:
Received a nice case with the page everything can tidily fit into a small package for traveling. We will need that mobility next week for some furniture store on location at the clients warehouse. Can’t wait to see what these images will look like. I’ll be sure to come back and post some samples as well as talk about lighting setup.
So that’s the photography side of things. We are making a big push into post production with Color Grading services on a Davinci Resolve system. Today we ordered the Flanders Scientific broadcast monitor LM-2460W. Which is a 10 bit monitor capable of displaying billions of colors. This is a critical piece in the workstation on top of the Mac Pro 12 core system with NVIDIA Quadro 4000 CPUs, Blackmagic Decklink Extreme 3d+ video capture card and 24GB RAM.
The monitor couldn’t come soon enough… just today talked to the producer for American Zoe and will be the colorist for their feature.