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.
Paralinx Arrow Plus with Paralinx Shield protector available for rentals. Rental price is $100 per day.
The Arrow Plus multicast system combines all the features of the Arrow with the added ability to pair each transmitter with up to four receivers. Uncompressed 4:2:2 1920×1080 10-bit video. Less than 2 ms latency. Range of over 300ft line-of-sight. Runs on 5V power. Transmitter weighs less than 40 grams. HDMI input/output. FCC, CE, and ROHS certified. Plug and play–no set-up required.
Shooting green screen on the RED EPIC with Kino Flo 4×4 light banks, ARRI T1 1000 watt fresnels and ARRI M18 HMI lighting.
1. What color temperature lights are best to work with while shooting green screen on the RED EPIC
2. What iso setting and REDcode compression ratios to chose for optimal performance
3. Black calibration of the sensor: when/how to apply it and how long it takes.
4. 2k/3k sensor cropping on the RED EPIC and how it affects light setup, camera placement and studio choice
5. Shooting high speed on green screen and managing noise and low light due to higher shutter speeds
6. Light planning for different shooting scenarios
7. Ideal placement of talent on Chroma Key Green or Digital Green backdrops
8. How to solve noise issues while shooting with Tungsten light sources
9. Using a light meter to even out the light on the backdrop
10. Ideal diffusion gels for maximum light transmission
11. Chroma key pulling in After Effects, FCPX
Refreshments will be on hand.
This is a PAID meetup. Please contact Andrae Palmer at (954) 593-0411 or andrae at facetmedia dot com for other payment options if you don’t have a Paypal account.
Canon L lens package:
Comes with 3 batteries, 64GB Lexar CF card and Canon L 24mm f/1.4, 50mm f/1.2, 85mm f/1.2 and 70-200 II f/2.8 lens package for $400 per day.
Additional bonus: Tiffen 77mm variable ND filter
Zeiss CP.2 Super Speed lens package:
Comes with 3 batteries, 64GB Lexar CF card and Zeiss Compact Prime CP.2 Super Speed T1.5 35mm, 50mm and 85mm lens package for $500 per day.
Was staying in Brandywine, Maryland and commuting to Fairfax, Virginia from Monday 07/12 to Friday 07/16 while working on corporate videos for a realtor company. Flew back in to Fort Lauderdale at midnight on Friday and was up bright and early for the Flavor Seal infomercial shoot in West Palm Beach. Was pretty tired with barely any sleep that night but it was so good to be working with Sara Shake from Exposed PR, Joshua Miller, Joseph Miller & Josiah Sampson from C&I Studios. Had a chance to meet Joshua’s parents while working the realtor shoot and also visited Camp Sonshine which Joshua’s family has been a part of for years. Was pretty impressed with how huge the church and daycare center was. Here are a few pics from all the shoots: