As you can probably tell from this blog, I’m a big fan of the SLR Magic line-up of cine lenses. Their mFT mount makes them an ideal set to pair with our Panasonic GH4s, and overall they are very well matched for color and contrast. That’s not to say I’m predisposed to like anything they offer. I would certainly voice disappointment if a new lens didn’t live up to their previous releases. Fortunately, this new 50mm is amongst their best.
I had heard really great things about this lens, but was still taken aback by how fun it was to shoot with. It is the widest in my set of SLR Magic cine lenses, all of which I’ve come to be a fan of. I paired it with my Panasonic GH4 which has a mFT mount. So no adapter or speedbooster is required.
Two things struck me right away. How sharp it remained with the aperture wide open, and how little distortion it had. It’s definitely there, but nothing like the fisheye effect you get with other lenses. Which makes it a great choice for filmmakers who need to increase their field of view dramatically, without that goofy look associated with many ultra wide angle lenses.
This is something I’ve been eager to share with you for some time, but we wanted to wait until the ink was dry because this is big, big news for us.
First… about the title of this entry. I know it’s a mouthful. In my defense… I’m an idiot.
Variable ND Comparison: SLR Magic vs Tiffen
When I set out to do this comparison, I thought I knew what to expect. I thought putting the Tiffen Variable ND next to the SLR Magic Variable ND would produce similar results with minor differences. I typically use these during the day to cut a substantial amount of light. So in this test, I have the Panasonic GH4 shooting 4K with the Natural profile, set with an ISO of 200. Without ND the 25mm’s aperture is at a T/8 and I’m cutting 5 stops with each ND to bring the aperture to a T/1.4.
As we prepare to transition to 2015, I thought I’d post about transitions in storytelling. A few months ago I saw Jeff Garlin interview Steven Soderbergh live on stage at Largo. Steven was asked, “What is the most important part of the filmmaking process?”