Classic Glass on a Modern Camera

If you’re looking for something special, then a Cooke 20-100 Zoom is for you!

C4

The Cooke 20-100mm T3.1 was used on countless classic 70′s and 80′s movies. It cost around $30,000 at the time and was Stanley Kubrick’s favorite zoom lens. He used it on many films including The Shinning and Eyes Wide Shut. More recent, Spielberg used this model on his 10-part mini-series, “Band of Brothers”.

Cooke lenses are known worldwide for their distinctive ‘Cooke Look’, which has created beautiful images for the movie industry for the past 129 years.

Part of the Cooke Look is the very subtle warmth that’s in the lens, which gives luscious, warm skin tones alongside smooth contrast with a pleasing amount of sharpness.

The optics of older glass like this Cooke zoom helps greatly in offsetting the hard edge of the new breed of high-end cameras like Sony F5, Alexa, etc. Thanks to these cameras, Cooke’s are once again very highly sought after.

Even with the tremendous amount of options on the market today for cinema lenses, many cinematographers still stand steadfast by these classic Cooke zooms.

I purchased this Cooke Varotal 20-100 lens because I wanted the ‘Cooke Look’ to be part of my filmmaking.

Range of Focal Distance: 20mm – 100mm
Minimum Object Distance: 2′ 4″ (from focus plane)
T Stop: 3.1
F Stop: 2.8
Weight: 11 lbs/5kg (approx. w/o Matte Box)
Front Diameter: 144mm
Lens Mount: PL mount
Measurement Scale: Feet and Meters

http://www.peteburns.com

Posted in Large Sensor Video Cameras, Pete Burns Cameraman, Sony PMW-F3, Sony PMW-F5, Sony PMW-F55 | Tagged , | Leave a comment

Bi-colour Dedolight

When I first moved to LED lighting, I have to admit that a few directors I work with seemed very skeptical about LED lighting in television production. Several of them had bad experiences with cameramen who rolled up with those cheap LED lights that eBay are full of. Unfortunately, some well know broadcast suppliers also sell them.

Here are a few reasons not to be tempted by low cost knock-offs.

Colour – No consistency in color between fixtures and a very noticeable shift to magenta; especially when dimmed.

Safety Certification – The majority of these Chinese knock-offs are not CE approved. They do not meet requirements of applicable EC directives. This is a big issue.

I was working on a commercial with a very experienced producer who’s well known for not liking change. From the corner of my eye I saw him marching towards me, waving his hand flamboyantly in the air at Felloni light panel, he spouted “What the f***k is this thing?” Heads turned in the studio as he ranted on until he noticed the Dedo logo on the back of the Feloni. “I’m so sorry Peter, I wasn’t aware it was from Dedolight, splendid, splendid” as he tottered off into the shadows.

It’s amazing just how quickly respect has built towards Dedos new LED fixtures. Two Oscars for services to the motion picture industry probably helps.

Daylight or Bi-Colour? 

I have a colleague who couldn’t decide whether to purchase Daylight or Bi-colour fixtures, so I loaned him a set over a weekend, here are his thoughts.

His older Dedologhts are used mainly on talking heads, so quite rarely at full power. Bearing in mind that the new LED daylight versions are slightly brighter than bi-colour, he decided the convenience of colour temperature change is more important than a slightly brighter lamp. His original Dedolights have been around for 12 years and still perform well. He commented that the new DLED4 build is of similar quality and would probably outlive his cameras.

Bi-colour fixtures cost around one third more than single colour. He believed the additional cost was justified for the convenience of bi-colour. He has ordered 4 x Bi-colour DLED4 and 2 x Fellonis.

Dedolight DLED4 Bicolour Focusable LED Light

The new DLED4 fixture uses the same-patented aspheric optics as the traditional Dedolight. The LED beam is 12° wider with the evenness of the original Dedolight that we all know.

Dedolight Felloni High Output Bicolor LED Soft Light

The Felloni is a super bright, flicker-free 12 x 12-inch LED Light Panel that produces twice the light of comparable lights and draws just half the current of similar units. Color temperature is variable from 3,200 – 5,600K.

Having used the Dedolight DLED4 and Felloni fixtures on a daily basis for several months now, I can honestly say that these lamps have become my favorites and always travel with me. They are both highly portable and lightweight with excellent colour rendition, which does not change during dimming. Powering with optional V-Lock batteries give me the freedom to light absolutely anywhere.

I’m proud to say “All of the lighting fixtures I own are 100% Dedolight”.

http://www.peteburns.com

 

Link | Posted on by | Tagged , , , , , , | Leave a comment

SmallHD DP7-PRO-OLED-SX On Camera Monitor

Today, everyone is shooting HD or beyond.

Lenses are one of the most important elements of a camera; they define picture resolution more than the camera sensor. But just as important, is being able to see an accurate, representation of your camera’s true colour gamut and contrast, that’s why I chose the DP7-PRO-OLED-SX monitor by SmallHD.

F5-Small-HD3

I won’t bang on about the image quality, you really have to see it for yourself; it’s superb. I went for the OLED version because I wanted the best high definition, on-camera monitor for my Sony PMW-F5. It’s probably the top 7-inch monitor in its class; my clients love it.

F5-Small-HD

The DP-7 also looks better than any monitor on the market today and seems extremely rugged but weighs in at just over half a kilogram. The menu system is also very intuitive, which is great for reactive style shooting. The proximity sensor switches are a real time-saver too.

Powering options

When used on my Sony F5, I power it from the cameras 12V Hirose. Otherwise, it’s a V-lock PAG, which runs it for ages.

All of the scopes you dream of –  full screen or windowed

  • Waveform monitor
  • Vecterscope
  • RGB Parade
  • Histogram

Anamorphic

When I shoot with Anamorphic lenses, the anamorphic de-squeeze on the DP7 Pro is a lifesaver, because it routes the un-squeezed picture to other monitors on set, for directors and clients.

F5-Small-HD-2

LUTs 

If shooting SLog2 or RAW, the DP7 PRO Look up tables can also be routed to other monitors on set.

Cross Conversion

The cross conversion feature is handy too. HD-SDI to HDMI or HDMI to HD-SDI. Very useful if you’re feeding mixed monitors.

The DP7-PRO-OLED-SX is packed full of features that other field monitors simply don’t have. I’ve waited a long time for a monitor like this to come along. The DP7 is definitely the solution to a lot of my problems.

I really do believe that SmallHD are in the same league as Steadicam, Panavision and Dedolight; all unique innovators who produced equipment that really made a difference.

http://www.peteburns.com

 

Posted in Large Sensor Video Cameras, Sony PMW-F3, Sony PMW-F5, Sony PMW-F55, Uncategorized | Tagged , , , , , , , , | 3 Comments

Dedolight produce a whole range of cutting-edge LED lighting fixtures and I’ve been using their DLED4 lights for several months now; they are amazing.

I guess everyone is asking ‘what’s the difference between the new DLED4 LED and the classic DLH4 head.

DLED2

The new DLED4 LED fixture comes in 3 types; Daylight, Tungsten or Bi-Colour. The DLED4  uses the patented Dedo aspheric optics that delivers the amazing 1:20 flood to spot ratio that we are all used to in the traditional DLH4. The  lamp beam is 12° wider than the original 48° dedo head which is a real bonus. The evenness of the beam is just as clean as the older dedolight and has excellent colour rendition which doesn’t change during dimming.

The DLED4 daylight heads match really well with KinoFlo, HMI, Felloni and are compatible with standard Dedo accessories.

dedo3

The DLED4 is extremely cool running and the dimmable ballast is slightly smaller than the original Dedo in-line transformer.

The new LED Dedolight has

  • All of the greatness of the original Dedolight
  • A wider beam than the original
  • Excellent colour rendition
  • Maintains colour temperature when dimmed
  • Can be powered by ‘world mains’ voltages or battery
  • Has very cool operation

It’s absolutely perfect!

 

Dedolight DLED9.1

I was asked by a reader to do comparison test of the Dedolight DLED focusable lamps.
There is a 2-stop difference between the DLED4 and the DLED9 which makes the DLED9 almost 4 times brighter than the DLED4.

There is a 2-stop difference between the DLED9 and a 1K Arri fresnel with full CT blue. The heat output from the front of the Arri is substantia, but on the other hand the Dedolight DLED9 delivers an amazing heat free zone in front of it’s lens.

DLED9-Arri-1K

http://www.peteburns.com

 

Link | Posted on by | Tagged , , , , , , , , , , | 9 Comments

Sony PMW-F5 Super35 Cinema Camera

I’m pleased to offer a Cinematography shooting package built around the Sony F5 Super35 camera.

f5-6

The Sony PMW-F5 CineAlta™ is the next generation of Super35  cinema cameras that shoots HD, 2K and 4K

Super35, shallow depth of field is a fantastic look that we’ve all seen in the cinemas for many years. The foreground is in focus the background is immediately out of focus. It’s a very pleasing look that’s associated with drama, high-end commercials and documentary.

The cameras Super35 sensor is where the magic happens.

The Sony F5 delivers gorgeous super-sampled HD pictures with visibly superior texture, colour reproduction and detail that ordinary HD cameras cannot touch. The F5 has fourteen stops of latitude, which allows the whole picture to be reproduced in a very natural way with lots of details in the dark area of the screen with great highlight handling. With an ISO base of 2000, the F5 is a super sensitive camera with multiple recording formats including HD/2K on SxS memory and 16-bit RAW 2K/4K on optional AXSM™ media. The F5 shoots up to 120 frames per second slow motion in full HD which is 5 times slower than real life.

Compare Camera Sensors

Sensor-chart

 

Getting great optics has always been important to me.

cp2set Lenses are one of the most important elements of a camera because they form and focus the image that is recorded by the camera sensor. Lenses actually define the picture resolution more than a cameras sensor.

Zooms versus Prime Lenses

Zoom lenses are associated more with video cameras than large format cinema cameras like my Sony F5. A zoom lens for a shoulder-mounted camera such as XDCAM, etc. would have a typical zoom range of 18x. Zoom lenses for the new breed of large format cameras, like the F5, Alexa or Red, tend to have shorter zoom ranges around 3X or 6x. Although these lenses are sold as cine zoom lenses, most cameramen treat them as ‘variable focal’ lenses, i.e. we use the zoom ring to choose a focal length before we roll the camera.

My RED 18-50mm is perfect for shooting interviews as I can achieve several frame sizes from one lens and achieve a reasonable shallow focus.

Unlike zoom lenses, prime lenses have fixed focal lengths. For example I may use a 35mm lens for a medium shot, a 50mm for a close up and an 85mm for a big close up. Each framing requires a lens change which is sometimes impractical mid-interview as you can lose the moment. It’s also not a good idea to over change lenses in dusty, humid or windy environments as particles can get onto the camera sensor. The advantage of a prime lens is superior image quality. Primes have less optics than zoom lenses so light transmission through the lens is purer? Shooting with primes takes a little longer as they have to be changed more often.

Classic Glass on a Modern Camera

If you’re looking for something special, then my Cooke 20-100 Zoom is for you!

C4

The Cooke 20-100mm T3.1 was used on countless classic 70′s and 80′s movies. It cost around $30,000 at the time and was Stanley Kubrick’s favorite zoom lens. He used it on many films including The Shinning and Eyes Wide Shut. More recent, Spielberg used this model on his 10-part mini-series, “Band of Brothers”.

Cooke lenses are known worldwide for their distinctive ‘Cooke Look’, which has created beautiful images for the movie industry for the past 129 years. Part of the Cooke Look is the very subtle warmth that’s in the lens, which gives luscious, warm skin tones alongside smooth contrast with a pleasing amount of sharpness.

The optics of older glass like this Cooke zoom helps greatly in offsetting the hard edge of the new breed of high-end cameras like Sony F5, Alexa, etc.  Thanks to these cameras, Cooke’s are once again very highly sought after.

Even with the tremendous amount of options on the market today for cinema lenses, many cinematographers still stand steadfast by these classic Cooke zooms. I purchased a classic Cooke Varotal 20-100mm lens because I wanted the ‘Cooke Look’ to be part of my filmmaking.

I have a comprehensive choice of lenses

Zeiss Prime Cine Lenses (PL mount)

35mm T2.1 Compact prime CP.2 50mm T2.1 Compact prime CP.2 85mm T2.1 Compact prime CP.2

My Zeiss CP.2 Cinema lenses are super-sharp with fourteen iris blades to guarantee natural and pleasing out-of-focus highlights with exceptional ‘bokeh’ – blurred areas that are pleasing to the eye.

Cooke 20-100mm T3.1 Cine Zoom (PL mount)

Cooke lenses are known worldwide for their distinctive ‘Cooke Look’. Part of the Cooke Look is the very subtle warmth that’s in the lens, which gives luscious warm skin tones alongside smooth contrast with a pleasing amount of sharpness. Part of the Cooke Look is the very subtle warmth that’s in the lens, which gives luscious warm skin tones alongside smooth contrast with a pleasing amount of sharpness.

Red 18-50mm T2.9 Cine Zoom (PL mount)

Allegedly made by Cooke Optics UK, this is my preferred lens for interviews. The 18mm end gives good wides whilst the 35-50mm range delivers reasonable out of focus backgrounds when required. It’s also a very usable lens for hand-held shooting that requires reactive framing.

GL Optics 11-16mm T3 Ultra Wide-Angle Cine Zoom (PL mount)

With an angle of view which is wider than human vision, this lens delivers memorable super wide-angle shots that other lenses just can’t do. Superb lens for architecture, confined spaces or just amazing perspectives.

Tokina 100mm f/2.8 AT-X Pro Macro with max reproduction ratio of 1:1

For filming extreme close-ups of objects. An audience can appreciate for the first time, the delicate complexity of everyday items. Even printed words and maps take on new importance when we can see the very texture of the paper or the indentations of each letter produced by a typewriter. Macro filming brings your audience’s focus into places their eyes normally don’t go.

Follow Focus & Matte Box

My choice of follow focus is the award-winning O-Focus Dual Mini Cine from O’Connor. It’s double sided so it can be operated from both sides of the camera; it’s rock solid too.

OConnor

Matte Box wise, I use an O’Connor O-Box which I chose over Arri & Chrosziel because it’s very sturdy with good top and side flags. This investment will probably outlast the cameras I’ll own in the future.

Your workflow

The Sony F5 is a multi-format camera, so it fits within the workflow that people want by offering multi-codec support,

XDCAM HD 50Mbps or 35Mbps a well-established codec HDCAM SR (MPEG4 SStp) at up to 220Mbps or 440Mbps Sony’s new XAVC MPEG-4 AVC/H.264 format ProRes & DNxHD coming soon

Not everyone wants to shoot in 2K or 4K, so if your final delivery requirement is HD, then the camera can be switched to HD but your still getting that 4K imager doing it’s magic.

Shot material is transferred via my MacBook Pro to your portable hard drives. The media is edit suite friendly and compatible with up to date Avid, Final Cut Pro, Premere, etc.

My Super35 shooting kit

Camera:

Sony PMW-F5 Super35 Cinema Camera
Sony 3.5-inch colour HD digital viewfinder
Arri Top Plate Arri base plate with 15mm rods and shoulder pad
Arri bridge plate and dovetail
Start/stop trigger handgrip
Sony SxS PRO+ Memory cards Sony XQD Memory cards

Prime Cine Lenses (PL mount)

35mm T2.1 Zeiss Compact prime CP.2
50mm T2.1 Zeiss Compact primeCP.2
85mm T2.1 Zeiss Compact prime CP.2

Zoom Cine Lenses (PL mount)

20-100mm Cooke Varotal T3.1 18-50mm RED T3.0 11-16mm GL Optics T3.0 10-

Other Lenses

100mm Tokina Macro f/2.8 80-200mm Nikkor f/2.8 ED

Lens support

Matte box – O’Connor
Follow focus – O’Connor
Schneider Optics ND filters
Tiffen Black ProMist filters
Tiffen Ultra Polarizer & ND Grads for image control that cannot be created in post.

Camera support

Small HD DP7-PRO-OLED-SX 7.7-inch field monitor with scopes
Sachtler 10 SB ENG 2 Speed-Lock carbon tripod
Cinevate Hi-hat
PAG L96 batteries and charger
17″ MacBook Pro Quad-Core i7 with transfer software

 www.peteburns.com

Posted in Broadcast Reviews, Large Sensor Video Cameras, Sony PMW-F5, Zeiss CP.2 | Tagged , , , , , , , , , , , , , , | Leave a comment

Solid Camera EVF Support

The Solid Cameras EVF Support turns the Alphatron EVF into a Top-End Viewfinder.

Fitting directly onto the Berkey Plate on an F3, this compact EVF Mount is Rock Solid. It features two adjustable clutches to allow a huge range of adjustment without needing to tighten any clamps.

Once adjusted into the perfect spot, it will stay where you’ve put it; and level too.

Your eye is now in a perfect and comfortable position when shoulder mounted.

The Solid Camera EVF Mount is absolutely perfect and works with many different camera systems and viewfinders. 

Visit my website http://www.peteburns.com

Posted in Alphatron EVF, Solid Camera EVF Support | Tagged , , | Leave a comment

The Felloni is the latest LED fixture from the Dedolight Tecpro range. I bought a couple of these lights a few months ago; I love them.

Sports Journalist Ivan Gaskell lit by a Felloni at 60% reflected from a Californian Sunbounce.

The Felloni is a super bright, flicker-free 12 x 12-inch LED Light Panel that produces twice the light of comparable lights and draws just half the current of similar units. It can be powered by V-mount Batteries or AC and is dimmable from 0-100%.

Typically I use a Felloni as:

  • Key lights
  • A kick-light for outdoor interviews.
  • Bounced off a reflector to produce a bigger soft light
  • Hand held as a mobile fill-light.

I’m always finding new uses for the Felloni. Being compact and lightweight, it can be used in cramped spaces and without excessive support. It’s virtually heat-free, so you can squeeze it into places where other lights just can’t go without worrying about harming the talent or location. It’s also rainproof.

The optional carry bag will hold one LED lamp fixture, AC adaptor, Battery, Light stand and has a pocket for filters. Lightweight with great protection.

Soft Case dimensions : 56 x 52 x 12 cm

Being designed and specified by Dedolight, the Felloni has a lovely light quality, it’s built to last and gives me the freedom I need to light creativelly.

Felloni is my first choice of  LED Light Panel; it’s practically perfect.

http://www.peteburns.com

 

Link | Posted on by | Tagged , , , , , , | 4 Comments