Hey all! This was a slightly different style of video: part gear review, part-video essay - what do you think? Would also love to know what other wide lenses I should try out next!
Wow, I can't believe that video was only six minutes long, it somehow felt longer, I guess because of the amount of information and interesting questions you were able to put together, and shorter, because it was so well done and enjoyable. The footage you shot looks absolutely incredible, that scene with the aspen trees in full autumn colour was so dreamlike... and I love Terrence Malick although I haven't seen "A hidden life" yet, so I'll put it on my list :) Beautiful work Ed, as always!
Thanks Kevin, enjoyed opening this one up a bit with film references and inspiration - will be trying to do more of this in the future! A Hidden Life was the last film I saw at the cinema before the pandemic hit, so glad that I got to experience that before lockdown!
this is fantastic. my thing with wide angle is i'm just not a fan of the distortion, but this lens doesn't really lean into that visual distortion. yes it's there, but it isn't off putting. yeah i may look into this, thanks!
Beautiful stuff as always, Ed! ❤ There’s that thing also with how physically close you have to get to the subject with those focal lengths, like well inside personal space. Rapport has to be built between camera op and subject before shooting and that relationship will come across in the image and performance. I love the woman and tree shots at the start of this vid! So beautiful 🙌🏻
Yea totally, I think that's super important, I think the same would be true even with a 50mm but granted you probably wouldn't be as up in their face compared with the 21mm. Lots of instances where I wouldn't get away using this, but am keen to try a doc style shoot where I can!
@EdProsser Loved this video. Beautiful images. I have the DZO Vespid 16mm. I’m loving it. I haven’t just yet filmed anything within production. At the moment just taking out and shooting. While watching the video, the whole time I was thinking “I think he’d love the 16mm even more”.
Thanks man, yes would love to get my hands on that lens! I directed a project last year where we used it but haven't shot my self. What sort of stuff do you tend to shoot with it?m
@@EdProsser I tend to shoot music videos, podcasts…..but I’m a writer. I’m trying to get out of ✍🏽 and actually produce more short films ect. I invested in the 16mm for the purpose of film. I haven’t produced anything on the 16mm just yet but will be using it in a video soon . It’s a beautiful lens. I don’t see any distortion ect. I’m going to get another dzo, but im fighting which one I want to get. 40mm or 50mm. Definitely will be getting the 90 macro after I decide between 40/50
@@EdProsser youre pushing me toward the 21mm after seeing this video. I’m wondering if the 16mm and 21 are too close and would look too similar. But I LOVE the shots you’ve used in this video so much!
@@Jewn8ug I plan to do a vid on macro at some point as it's a fun lens to have! In terms of 40 / 50 - maybe 40, being a pinch wider might help you a little... But they're both solid options. 50mm was definitely my standard go-to option for many years... You can check out my 21 / 40mm review vid to get an idea of the 40. Yeah if you have the 16mm I'd opt for a bigger jump in focal lengths before the 21
@@EdProsser thanks for pointing me toward your 40mm vid review! Bout to check it out now. I just saw your Siriu dukes light vid. Another thing on my list to get now. 😩. Lol. I need it tho. 🤷🏽♂️
Stunning work Ed! Watching this made me realise what had been lacking from my recent wedding work, which I felt somewhat bored of in the edit. Turns out I had subconsciously avoided going wider than 35mm to avoid getting in the photographer's way (she's my wife and often stirs me about it) but there is something dynamic about getting closer to the subject, especially for capturing details and more intimate moments during the sunset shoot. Time for me to go a bit wider and step in a bit closer!
Thanks Jon, yes definitely! I am the same, tending to stick to the same focal length range, but there's something more intense getting up close with a wide, or moving around to show the environment in relation to your subject, definitely worth playing around with!
So far I found that a wide-angle invites or almost forces me to shoot from a different height than eye-level which is good for a change. It is so easy to forget you can leave eye-level height to get better shots.
There's a black pro mist on most, plus IR cut and a VND on some too. No they're not naturally foggy! Just wanted to push a dreamy look on some of the shots with the light
@@EdProsser Got it, thanks. I was like, "Dang those lenses have hella bloom." What power BPM is this, for reference? 1/4? I want to share this with a director and your footage looks great so I feel like I will get asked. :) Compliments again!
@@EdProsser Beautiful choices, all. May I ask how you like to add softness in post? (I know there are many ways to skin a cat: lens blur, gaussian blur, dehancer, built-in davinci blur, glow ofx, etc, etc.) Sorry for pelting you with questions. You're very generous.
@@studiojohnny Hey John - ask as many questions as you like - that's what this channel is here for!! Everything was graded in resolve - softening was usually done by decreasing the mid-tone detail and some of the shots were graded using Serr's Film Vision power grade which adds some blurring in the grain node. Check out his video here: ruclips.net/video/45z60vnPOBw/видео.html Feel free to email me if you want - email on my about page!
There's not a huge deal between them, but yeah it gets you a little wider - I am keen to shoot on the 16mm - have used it on a project I was directing and it was great for shooting some nice wides on an interview.
Absolutely beautiful shots man!!.. Im so confused though.. I just bought my komodo, and If I get a Canon EF/ RF Speed Booster and the DZO 21mm Vespid is PL mount, how does that fit?? These Mounting adaptors and all of this is new to me coming from Lumix FF L mount.. Any help would be greatly appreciated. Thanks!, and again, INSPIRING Shots and videos!
Thanks for watching. You can get the Vespids in EF or PL mount both can be adapted to the RF mount on the Komodo. Speedboosters are more common with EF but you can get PL speedboosters but the lens compatibility is more patchy
Ah yeah, the Tokina is the first wide angle I shot on! I still have it somewhere, not tried it on the Komodo yet, have you?! There is a bit of vignetting on the corners on the Komodo with the focal reducer which has been amplified a little more with the grade in post. for me I don't mind a huge deal - it would depend on what I was shooting and the type of job. Also some of the vignetting on this might be due to the stacking of filters I was using.
@@EdProsser When you use the regular EF adapter it's fine but with the focal reducer you need zoom in a bit since it's an APS-C lens. And then you still get some blurry distortion on the sides.. learned this the hard way on a job. Otherwise it's fine. Not super sharp but quite creamy/filmic.
@@benbennett82 all the footage was shot across a couple of months towards end of last year. But in some cases I had an IR cut filter, pro mist and a VND, which meant the VND might have cut in a little at the extremes.
That's the plan next! Only issue is that I don't think the IBIS is great at wider focal lengths and I'd need to weigh the camera down a bit to get steady shots
@@EdProsser oh intetesting! That sounds like a perfect solution then. Due to file size im contemplating whether i can shoot the komodo in 4k raw not 6k using the speedbooster. Would the autofocus and low light performance just not be good if i used it this way? Basically trying to make the ultimate run and gun documentary solution out of it
@@cruisechill1813 you could just shoot in pro Res, that tops out at 4k but it uses the full 6k sensor area and then when you really need raw you can shoot in raw! Plus if you use the speedbooster in 4k pro Res then you get full frame equivalent.
Hey! I just got my Komodo and 21/40mm Vespids with the Metabones PL to RF .71x speedbooster. I cannot get anywhere near infinity focus. Do you think this is a problem with the speed booster?
@@EdProsser I don’t believe so! Seems weird since I haven’t seen anyone, including yourself talk about needing to do that with the same or similar setups 🤔
@@TEN27 it definitely sounds like a back focus issue, I'm not on PL, I'm on EF mine cam with an EF mount plus PL mount and shim's. Perhaps something to do with flange distance of PL + speedbooster?? There are RUclips vids which will walk you through it
Always nice to see some experimentation. Controversially I’m not sure that the TM use of wide works in any way. It often seems incredibly self conscious and I actually think there is a real emperor’s new clothes when it comes to shooting like that. It’s much like cine experiments with iPhones. It just doesn’t work. Badlands was not shot that way and it’s hard to think that TM really ever achieved much more when looking for a naturalistic look. I get it’s an antithesis to Hollywood conventions but in the wrong hands it just looks amateur and not in a good way. His wide and combination of forced repetitive ad libs with all too willing actors in awe can be embarrassing at times. For me it just doesn’t work. Maybe for Innaritu it does but I think he is just more intentional like Kubrick. TMs use draws way too much attention to the filmmaker and process of the image which is maybe what he wants. It’s basically very unnatural when there is such distortion on faces. Especially when shot below eye level. Maybe the use of wide really lies in contextualising the subject within their surroundings and for that I would site Kubrick and the Shining as perhaps the best example of wide angle use. That is in the realm of 14mm FF. beyond that I think shooting anamorphic is really the sweet spot for contextual shooting with subject and background and in that regard Spielbergs love of a 21mm feels about right. For sure I think wides can be fantastic and I love using a 14mm for that Kubrick look. Great for architecture or pov walk through a and follows especially if rectilinear but the camera line is key and once the camera tilts then I think it’s hard to avoid some very unwanted perspectives if people are close in frame. Hard to beat Kubricks use and for anyone a fan of wides I think it might be worth checking Stanley out rather than Terence. Just a thought. Thanks again for the video.
Hey Ken - that's fair enough - I've never been a HUGE Kubrick fan myself (bar one or two exceptions) - but I understand the appeal. I enjoy TM's work as well as the other films the likes of Lubezki have worked on. A Hidden Life was the last film I saw at the cinema before the pandemic - and it was a beautiful experience for me, the cinematography was captivating and I remember it having a profound effect on me - I was grateful to have seen that on the big screen before everything closed up. I think there is something to be said about how Malick depicts reality and embeds characters within environments - to be it often feels more immediate than the alternative - as you say there are some 4th wall breaking moments - but in the way that a documentary might also do that - it doesn't always matter to me... you are after all watching a re-creation of reality filtered through someone else's mind - and I think playing around with editing, repetition and camera movement can often present interesting meanings and emotions that you wouldn't necessarily achieve through "conventional" techniques. As I mention in the vid, I think his style blurs the boundaries between fiction and reality - in an interesting way and it challenges the conventions in which we traditionally share stories through motion picture. I enjoy experiencing that - and I think it's important that people challenge conventions and present new ways of doing things - it wont always work and wont always be to people's taste, obviously no filmmaker / artist ever has a flawless body of work - but for me TM's work provokes me and gives me something to think about long after I've left the cinema!
Hey I’m glad you get something from TMs work. And thanks so much for that fantastic response. For me he may be a great thinker but is an amateur film maker making amateur mistakes in the way peoples respect for him deludes the obvious from being stated. Boss This doesn’t work. I have worked with many a genius and they are often lost and not served well by the surrounding deference shown to them by acolytes who are drawn to working with them and become subservient to the auteurs art and vision. It happened with woody Allen and it’s the curse of writer directors who are all too often given way too much artistic rope and eventually fall foul of it. The give away sign is repetitive ad libs by actors in a scene devoid of a dialogue script and in TMs case it’s been a trope since the beginning of strained playful running around. From days of heaven on. Even in a hidden life. Imo it’s the worst case of emperors new clothes apart from possibly 1917 or anything that Sam mendes tries to write. A q and a so often exposes the randomness and lack of intentionality. I know as fans we want to believe in the transcendental power of these works but it really is about an imprinted cognitive bias at some basic level that stops us from walking out of the cinema. As always it’s in the eye of the beholder. So many times I have walked into an art gallery and thought that the fire extinguisher catching my attention could be and was an exhibit and walked away happy to think it was. It’s a funny old world for sure. Thanks for the great response and all the work. Best K
@@KenFlanagan Thanks for that - it's interesting we have such different responses to AHL - but that's art! I didn't think 1917 was very interesting to be honest - but I know lots of people who loved it - I couldn't understand the fuss behind it. I wouldn't put AHL in the same category though they're very different films / stories. What about the Thin Red Line? I think for me Malick's work draws out emotions and feelings that other films rarely do - yes you do have to be in a certain mood or receptive to that to watch them - I can't sit down and watch one of his films any day of the night (!) Again like other forms of art you're not always reading that as a linear piece of information - but it emerges out of the associations and interactions laid before you. I can understand how that could be frustrating for some people - but meaning in art rarely arises from a single avenue or takes on one single interpretation. Sometimes you do have to give a piece of work space to breath and live outside of some gallery interpretation written next to it - even if that comes at the cost of losing some of your audience! Thanks for the great chat!
@@EdProsser I was at a q and a with mendes and not only was he rude defensive and pretty obnoxious it was clear that his motivations are pretty shallow and wholly egotistically self serving. He is a careerist. Given the position he’s found himself in after American beauty he just can’t help himself. Just wants to be an auteur and write but he cannot write to save his life. To me great filmmakers are people like Michael Cimino and of course Kubrick. The thin red line ironically possibly the worse use of music in film history imo mirrored only by Errol Morris’s most brilliant use of music, in both cases Philip Glass score. Again the best use of music probably goes to Kubrick and 2001 and of course Philip Glass in a vehicle that was tailor made for him in Koyaanisqatsi. Now that is filmmaking imo. Every frame every beat wholly intentional and dripping with art invention and emotion let alone profound meaning. I think the best case if intentionality and use of lens and frame that I have seen recently is Son of Saul. If TM knew how to make films he would be making films like that imo. It’s always interesting to hear different points of view and it’s great that you have shared your thoughts in such detail. You are clearly very thoughtful and intentional yourself and yet you seem to have quite an artisan touch and the care and patience of an animator rather than a filmmaker though clearly that’s something you can do very well. I mean this in the best possible way but you do remind me of nick park but maybe with a bit more of a nod to contemporary culture and art. That said thanks so much for your thoughts. Always nice to chat. Best K
Hey all! This was a slightly different style of video: part gear review, part-video essay - what do you think?
Would also love to know what other wide lenses I should try out next!
These shots were magic!!
A lot of these shots were captured on our trip to Turin, Italy last year - so I credit a lot of that to the beautiful city!
Jesus Ed, you're killing it with your pictures!
Thanks man! Taking a trip to Italy always helps! 😉
Wow, I can't believe that video was only six minutes long, it somehow felt longer, I guess because of the amount of information and interesting questions you were able to put together, and shorter, because it was so well done and enjoyable. The footage you shot looks absolutely incredible, that scene with the aspen trees in full autumn colour was so dreamlike... and I love Terrence Malick although I haven't seen "A hidden life" yet, so I'll put it on my list :)
Beautiful work Ed, as always!
Thanks Kevin, enjoyed opening this one up a bit with film references and inspiration - will be trying to do more of this in the future!
A Hidden Life was the last film I saw at the cinema before the pandemic hit, so glad that I got to experience that before lockdown!
Wow, that footage is crazy. The dzo lenses and the fall colours 🤘
The colours with those trees were amazing!
this is fantastic. my thing with wide angle is i'm just not a fan of the distortion, but this lens doesn't really lean into that visual distortion. yes it's there, but it isn't off putting. yeah i may look into this, thanks!
Yeah this isn't too bad thankfully, would be interested to see what the 16mm is like at full frame.
Your videos, words and views are stunning!
thank you Mashud - I hope they're helpful!
great looking images!
Thanks Peter!
So happy I found this video! It was so well scripted and shot, very inspirational!
Whoop thanks for the lovely comment!
This! Love the break down.
Glad you enjoyed it!
Beautiful stuff as always, Ed! ❤ There’s that thing also with how physically close you have to get to the subject with those focal lengths, like well inside personal space. Rapport has to be built between camera op and subject before shooting and that relationship will come across in the image and performance. I love the woman and tree shots at the start of this vid! So beautiful 🙌🏻
Yea totally, I think that's super important, I think the same would be true even with a 50mm but granted you probably wouldn't be as up in their face compared with the 21mm.
Lots of instances where I wouldn't get away using this, but am keen to try a doc style shoot where I can!
Been following you..! Love your style and colour.
Hey! Thanks so much for checking this out and taking the time to comment!
Damn!!! That Helios is one heck of a gorgeous lens!!!
It's great! I'll be doing some more vintage lens stuff with the Komodo in the future!
@@EdProsser Keen to see what vintage lenses you are playing.
very nice Ed, You using dehancer? loving the grain
I haven't got dehancer yet, but planning to! This was a combination of the FilmVision powergrade or just dialing it in myself
@EdProsser Loved this video. Beautiful images.
I have the DZO Vespid 16mm. I’m loving it. I haven’t just yet filmed anything within production. At the moment just taking out and shooting. While watching the video, the whole time I was thinking “I think he’d love the 16mm even more”.
Thanks man, yes would love to get my hands on that lens! I directed a project last year where we used it but haven't shot my self. What sort of stuff do you tend to shoot with it?m
@@EdProsser I tend to shoot music videos, podcasts…..but I’m a writer. I’m trying to get out of ✍🏽 and actually produce more short films ect. I invested in the 16mm for the purpose of film. I haven’t produced anything on the 16mm just yet but will be using it in a video soon . It’s a beautiful lens. I don’t see any distortion ect. I’m going to get another dzo, but im fighting which one I want to get. 40mm or 50mm. Definitely will be getting the 90 macro after I decide between 40/50
@@EdProsser youre pushing me toward the 21mm after seeing this video. I’m wondering if the 16mm and 21 are too close and would look too similar. But I LOVE the shots you’ve used in this video so much!
@@Jewn8ug I plan to do a vid on macro at some point as it's a fun lens to have! In terms of 40 / 50 - maybe 40, being a pinch wider might help you a little... But they're both solid options. 50mm was definitely my standard go-to option for many years...
You can check out my 21 / 40mm review vid to get an idea of the 40.
Yeah if you have the 16mm I'd opt for a bigger jump in focal lengths before the 21
@@EdProsser thanks for pointing me toward your 40mm vid review! Bout to check it out now. I just saw your Siriu dukes light vid. Another thing on my list to get now. 😩. Lol. I need it tho. 🤷🏽♂️
Love your work.
Thanks!
I love it. I need one!
DO IT
Stunning work Ed! Watching this made me realise what had been lacking from my recent wedding work, which I felt somewhat bored of in the edit. Turns out I had subconsciously avoided going wider than 35mm to avoid getting in the photographer's way (she's my wife and often stirs me about it) but there is something dynamic about getting closer to the subject, especially for capturing details and more intimate moments during the sunset shoot. Time for me to go a bit wider and step in a bit closer!
Thanks Jon, yes definitely! I am the same, tending to stick to the same focal length range, but there's something more intense getting up close with a wide, or moving around to show the environment in relation to your subject, definitely worth playing around with!
Overall it does look great and I'm sure there's use for these type of lenses at specific shoots.
Yeah needs to be the right vibe, probably not going to be getting up in people's faces for corporate shoots 😂
That was amazing. One Q. There was a lot of vignetting in your footage. Was that the lens or a creative choice? Liked and sub’d. Thanks for sharing!
There is a little vignetting mainly a combo of focal reducer and filters - but it's amplified more in post.
@@EdProsser thanks, Ed. Good stuff.
I wonder if Dzo is done with the Vespid set, would love to see an 18 and 28mm!
Yeah good question! The DZOFilm carry case I have for them is full after the 16mm, so from that perspective, I guess they're done!? 😂
So far I found that a wide-angle invites or almost forces me to shoot from a different height than eye-level which is good for a change. It is so easy to forget you can leave eye-level height to get better shots.
Yes definitely, especially if you're wanting to capture some of the environment such as trees or buildings it can help to go lower!
Nice essay 👌 Did you add a diffusion filter to most of these shots?
Yes! Moistly BPM 1/4 and sometimes a bit of glow in resolve.
Hey, nice review. Question: what diffusion are you using in front of the lenses? Or are these lenses always this foggy/glowy looking?
There's a black pro mist on most, plus IR cut and a VND on some too. No they're not naturally foggy! Just wanted to push a dreamy look on some of the shots with the light
@@EdProsser Got it, thanks. I was like, "Dang those lenses have hella bloom." What power BPM is this, for reference? 1/4? I want to share this with a director and your footage looks great so I feel like I will get asked. :) Compliments again!
Haha yeah they're not super wild. Yes it's a 1/4 and there's some softness / grain added in post!
@@EdProsser Beautiful choices, all. May I ask how you like to add softness in post? (I know there are many ways to skin a cat: lens blur, gaussian blur, dehancer, built-in davinci blur, glow ofx, etc, etc.) Sorry for pelting you with questions. You're very generous.
@@studiojohnny Hey John - ask as many questions as you like - that's what this channel is here for!!
Everything was graded in resolve - softening was usually done by decreasing the mid-tone detail and some of the shots were graded using Serr's Film Vision power grade which adds some blurring in the grain node. Check out his video here: ruclips.net/video/45z60vnPOBw/видео.html
Feel free to email me if you want - email on my about page!
I kinda wish I would have waited for the 21mm. I have the 25mm but still love the focal length!
There's not a huge deal between them, but yeah it gets you a little wider - I am keen to shoot on the 16mm - have used it on a project I was directing and it was great for shooting some nice wides on an interview.
Absolutely beautiful shots man!!.. Im so confused though.. I just bought my komodo, and If I get a Canon EF/ RF Speed Booster and the DZO 21mm Vespid is PL mount, how does that fit?? These Mounting adaptors and all of this is new to me coming from Lumix FF L mount.. Any help would be greatly appreciated. Thanks!, and again, INSPIRING Shots and videos!
Thanks for watching. You can get the Vespids in EF or PL mount both can be adapted to the RF mount on the Komodo. Speedboosters are more common with EF but you can get PL speedboosters but the lens compatibility is more patchy
Is this footage straight from the DZO lens, or are you using filtration, it seems softer than most DZO images I've seen. Great work man!
Some of the shots have pro mist and some shots softened a little in post!
I think looking at it on YT the interaction of compression / grain is affecting some of the sharpness as well!
Nice! I also love to shoot with my Tokina 11-16mm. What about the heavy vignetting though? In camera or in post?
Ah yeah, the Tokina is the first wide angle I shot on! I still have it somewhere, not tried it on the Komodo yet, have you?!
There is a bit of vignetting on the corners on the Komodo with the focal reducer which has been amplified a little more with the grade in post. for me I don't mind a huge deal - it would depend on what I was shooting and the type of job.
Also some of the vignetting on this might be due to the stacking of filters I was using.
@@EdProsser When you use the regular EF adapter it's fine but with the focal reducer you need zoom in a bit since it's an APS-C lens. And then you still get some blurry distortion on the sides.. learned this the hard way on a job. Otherwise it's fine. Not super sharp but quite creamy/filmic.
Which filters were you stacking out of interest?
@@benbennett82 all the footage was shot across a couple of months towards end of last year. But in some cases I had an IR cut filter, pro mist and a VND, which meant the VND might have cut in a little at the extremes.
@@mpeg2000 yeah I have used it on a full frame camera zoomed in when I really needed to go wide, but stopped using it after I got the Vespids.
Mist is glass filter or in post?
Black pro mist 1/4 I believe
You should try this lens on the panasonic!
That's the plan next!
Only issue is that I don't think the IBIS is great at wider focal lengths and I'd need to weigh the camera down a bit to get steady shots
@@EdProsser or maybe go even further with the 16mm DZFILM
How did you grade this footage?
Bit more about my process here - ruclips.net/video/hjsFWm-pWk4/видео.html
How best is 35mm dzo for film shoot ? I wanna use one lense to shoot a feature film
35mm is great, I use it all the time! Many films have been shot entirely on a 35mm
@@EdProsser thank you
hey, thanks for the video! What ND solution are you using with the with the 0.71 focal reducer?
I have an H&Y revoring VND, it's great!
@@EdProsser oh intetesting! That sounds like a perfect solution then. Due to file size im contemplating whether i can shoot the komodo in 4k raw not 6k using the speedbooster. Would the autofocus and low light performance just not be good if i used it this way? Basically trying to make the ultimate run and gun documentary solution out of it
@@cruisechill1813 you could just shoot in pro Res, that tops out at 4k but it uses the full 6k sensor area and then when you really need raw you can shoot in raw! Plus if you use the speedbooster in 4k pro Res then you get full frame equivalent.
@@EdProsser sounds perfect then! Thank you for the great advice and videos
@@EdProsser Do you know what the recording times are for 1tb in prores 4k? Cheers
Bro, was you in Turin in 0:52?
Yes! Most of this is in Turin, we go a lot, my partner grew up there.
@@EdProsser lol, i live there.
Love it there!
What filters are you using here?
Some have an IR cut filter on, but mostly a 1/4 black pro mist and a VND
@@EdProsser using the pro mist and the vnd at the same time? How is that possible?
@@directedbyerick1652 you place both filters on the lens.... and start shooting?
Hey! I just got my Komodo and 21/40mm Vespids with the Metabones PL to RF .71x speedbooster. I cannot get anywhere near infinity focus. Do you think this is a problem with the speed booster?
You might need to shim the lenses and calibrate them, did they ship with shims??
@@EdProsser I don’t believe so! Seems weird since I haven’t seen anyone, including yourself talk about needing to do that with the same or similar setups 🤔
@@TEN27 it definitely sounds like a back focus issue, I'm not on PL, I'm on EF mine cam with an EF mount plus PL mount and shim's. Perhaps something to do with flange distance of PL + speedbooster?? There are RUclips vids which will walk you through it
@@TEN27 ruclips.net/video/o3zFf_2TeUM/видео.html
@@TEN27 maybe this vid is clearer - ruclips.net/video/7XvdMCuhEEg/видео.html
Always nice to see some experimentation. Controversially I’m not sure that the TM use of wide works in any way. It often seems incredibly self conscious and I actually think there is a real emperor’s new clothes when it comes to shooting like that. It’s much like cine experiments with iPhones. It just doesn’t work. Badlands was not shot that way and it’s hard to think that TM really ever achieved much more when looking for a naturalistic look. I get it’s an antithesis to Hollywood conventions but in the wrong hands it just looks amateur and not in a good way. His wide and combination of forced repetitive ad libs with all too willing actors in awe can be embarrassing at times. For me it just doesn’t work. Maybe for Innaritu it does but I think he is just more intentional like Kubrick. TMs use draws way too much attention to the filmmaker and process of the image which is maybe what he wants. It’s basically very unnatural when there is such distortion on faces. Especially when shot below eye level. Maybe the use of wide really lies in contextualising the subject within their surroundings and for that I would site Kubrick and the Shining as perhaps the best example of wide angle use. That is in the realm of 14mm FF. beyond that I think shooting anamorphic is really the sweet spot for contextual shooting with subject and background and in that regard Spielbergs love of a 21mm feels about right. For sure I think wides can be fantastic and I love using a 14mm for that Kubrick look. Great for architecture or pov walk through a and follows especially if rectilinear but the camera line is key and once the camera tilts then I think it’s hard to avoid some very unwanted perspectives if people are close in frame. Hard to beat Kubricks use and for anyone a fan of wides I think it might be worth checking Stanley out rather than Terence. Just a thought. Thanks again for the video.
Hey Ken - that's fair enough - I've never been a HUGE Kubrick fan myself (bar one or two exceptions) - but I understand the appeal. I enjoy TM's work as well as the other films the likes of Lubezki have worked on.
A Hidden Life was the last film I saw at the cinema before the pandemic - and it was a beautiful experience for me, the cinematography was captivating and I remember it having a profound effect on me - I was grateful to have seen that on the big screen before everything closed up.
I think there is something to be said about how Malick depicts reality and embeds characters within environments - to be it often feels more immediate than the alternative - as you say there are some 4th wall breaking moments - but in the way that a documentary might also do that - it doesn't always matter to me... you are after all watching a re-creation of reality filtered through someone else's mind - and I think playing around with editing, repetition and camera movement can often present interesting meanings and emotions that you wouldn't necessarily achieve through "conventional" techniques.
As I mention in the vid, I think his style blurs the boundaries between fiction and reality - in an interesting way and it challenges the conventions in which we traditionally share stories through motion picture. I enjoy experiencing that - and I think it's important that people challenge conventions and present new ways of doing things - it wont always work and wont always be to people's taste, obviously no filmmaker / artist ever has a flawless body of work - but for me TM's work provokes me and gives me something to think about long after I've left the cinema!
Hey I’m glad you get something from TMs work. And thanks so much for that fantastic response. For me he may be a great thinker but is an amateur film maker making amateur mistakes in the way peoples respect for him deludes the obvious from being stated. Boss This doesn’t work. I have worked with many a genius and they are often lost and not served well by the surrounding deference shown to them by acolytes who are drawn to working with them and become subservient to the auteurs art and vision. It happened with woody Allen and it’s the curse of writer directors who are all too often given way too much artistic rope and eventually fall foul of it. The give away sign is repetitive ad libs by actors in a scene devoid of a dialogue script and in TMs case it’s been a trope since the beginning of strained playful running around. From days of heaven on. Even in a hidden life. Imo it’s the worst case of emperors new clothes apart from possibly 1917 or anything that Sam mendes tries to write. A q and a so often exposes the randomness and lack of intentionality. I know as fans we want to believe in the transcendental power of these works but it really is about an imprinted cognitive bias at some basic level that stops us from walking out of the cinema. As always it’s in the eye of the beholder. So many times I have walked into an art gallery and thought that the fire extinguisher catching my attention could be and was an exhibit and walked away happy to think it was. It’s a funny old world for sure. Thanks for the great response and all the work. Best K
@@KenFlanagan Thanks for that - it's interesting we have such different responses to AHL - but that's art!
I didn't think 1917 was very interesting to be honest - but I know lots of people who loved it - I couldn't understand the fuss behind it. I wouldn't put AHL in the same category though they're very different films / stories.
What about the Thin Red Line?
I think for me Malick's work draws out emotions and feelings that other films rarely do - yes you do have to be in a certain mood or receptive to that to watch them - I can't sit down and watch one of his films any day of the night (!)
Again like other forms of art you're not always reading that as a linear piece of information - but it emerges out of the associations and interactions laid before you. I can understand how that could be frustrating for some people - but meaning in art rarely arises from a single avenue or takes on one single interpretation.
Sometimes you do have to give a piece of work space to breath and live outside of some gallery interpretation written next to it - even if that comes at the cost of losing some of your audience!
Thanks for the great chat!
@@EdProsser I was at a q and a with mendes and not only was he rude defensive and pretty obnoxious it was clear that his motivations are pretty shallow and wholly egotistically self serving. He is a careerist. Given the position he’s found himself in after American beauty he just can’t help himself. Just wants to be an auteur and write but he cannot write to save his life. To me great filmmakers are people like Michael Cimino and of course Kubrick. The thin red line ironically possibly the worse use of music in film history imo mirrored only by Errol Morris’s most brilliant use of music, in both cases Philip Glass score. Again the best use of music probably goes to Kubrick and 2001 and of course Philip Glass in a vehicle that was tailor made for him in Koyaanisqatsi. Now that is filmmaking imo. Every frame every beat wholly intentional and dripping with art invention and emotion let alone profound meaning. I think the best case if intentionality and use of lens and frame that I have seen recently is Son of Saul. If TM knew how to make films he would be making films like that imo. It’s always interesting to hear different points of view and it’s great that you have shared your thoughts in such detail. You are clearly very thoughtful and intentional yourself and yet you seem to have quite an artisan touch and the care and patience of an animator rather than a filmmaker though clearly that’s something you can do very well. I mean this in the best possible way but you do remind me of nick park but maybe with a bit more of a nod to contemporary culture and art. That said thanks so much for your thoughts. Always nice to chat. Best K
@@KenFlanagan thanks Ken! interestingly I also produce a lot of animation, just don't talk about it in here: edprosser.com/animation-1