Sad Sad Sad... 😞It hurt me inside to hear about the stolen Nikkors. A few years ago I had some of my Pentax K lenses stolen. Just thinking about it is still very uncomfortable. But thank you very much for the video. Very interesting, the Xtal was new to me, and great examples as always!👍
Please make more of these, they're incredible! In the next part you should look at the Panavision Ultra Vista lenses, or the large format ALFA anamorphics
I have a set of JDC Xtal Express at the rental house where I work. Zeiss super speed taking lenses. They look great stopped down. At T4-5.6, you get that epic Hollywood feel that people want. Wide open, they are quite soft at the corners and the bokeh becomes incredibly stretched and swirly. The mechanical design is tricky and scares a lot of people away. Different diameter for each focal length. The 35mm is a giant oval like shown in your video. Overall, they are not for the faint of heart. But it is important to remember that these were the state of the art when they were new and competed with Panavision glass of the day.
Interesting fun note about the JDC lenses and the Xtal Express - they didn't just do cookes! There are others, including the Zeiss Xtal Express, which used Zeiss Standard Speeds as the base optic. Not sure if PV has those but I have seen them up for sale and hear tell of them, never seen them myself (unlike the cooke ones)
Great series! In an future video it would be interesting to hear your thoughts on the signature primes that have been popular with award winning features recently. Also the Zeiss Supremes, another excellent full frame price set
Do you know what was used to make the Ultra Primes cover the 65 sensor? I have a 5 lens set of those. They deserve every bit of fame they have. Amazing lenses
JDC is based out of my town. They have a giant room with all their patents and designs and notes from Kubrick strung around. If you ever shoot in Wilmington, highly recommend checking it out
I can imagine the helpless feeling of getting your gear stolen, i remember when out professors Arri Alexa got stolen from one of his sets back in 2018. Gear thieves are the worst...
Very interesting learning about all these different lenses with their unique looks they bring and their focal lengths, was wondering I've been trying to understand the rule of 3rd's in cinematography but find it a bit too complicated, would you be able to cover this at a basic beginners level, thank you.
As a home grown cinematographer, I only use 3 cinematic lenses, I also use my old Nikons to bridge the gaps when I need something more. I'd be pretty upset if any of them came up missing.🤬
Dude that sucks about your Nikkon lenses--it's frustrating cause I know how long it takes to build a full set of vintage still lenses for cinematography. I've been building a set of FD's and it's taken me almost two years and I still only have three focal lengths. Could not even imagine how I fould feel if they were stolen. I'm really sorry that happened to you! Amazing vids as always..
Bummer about your Nikons, I hope they can be recaptured! I shoot a mix of AI, AIS, and series E glass. It would be sad day if something happened to them.
Great video! just a short question. Do you know why and how the cinematographer uses the super 35 ultraprime on an Alexa 65 camera? Did he crop out the vignette in post or the UP can really be used on a 65 or vistavision sensor camera?
I believe all Alexa cameras offer crop sensor modes to account for different lenses/image circles. I know the original Alexa did, I’m not sure if the Alexa 65 allows the same.
I think it's a maximum based on the design of the optics inside. So a T4 lens or a T1.4 lens would give basically the same exposure when mounted on it, the T1.4 might be slightly brighter. This is also the case with some general purpose focal reducers like the Metabones Speedbooster, where they have a maximum amount of light they can transmit, even if it should theoretically be brighter.
@@TechnoBabble First of all, thanks for the reply. Further I kind of agree when it comes to the 2nd part of your reply. With due regard, I think I disagree with the 1st part of your reply as additional optics with different light transmission capabilities will have different effects.
The Frazier macro's (optical)diameter of the transmission part determines the final T-stop except if the taking lens brightness is below T7.1 -I'm sure you can find the technical data on Panavision's website.
@@m.i.andersen8167 Thanks 🙏 for the reply. But if we go by the formula for T-stop i.e. Focal length ➗ {diameter of the entrance pupil multiplied by (root transmission percentage)} of both taking lens & JDC, & then calculate accordingly the effective T-stop will be more than T7.1, unless the T-stop of taking lens is less than 1. I think...
@@saurabhkumarjain7 T-stop is transmission value where losses in coating and lenses are included. F-stop is - not "diameter of the entrance pupil multiplied..", but focal length divided by the diameter of the opening of the aperture seen from the front (only on symmetrical lens designs it fits somewhat if you measure on the front lens). The taking lens is in series with the JDC and therefore no more light gets through than what the JDC allows. Imagine a T-1.3 lens in front of a black piece of paper with a hole corresponding to aperture 7.1 - Total brightness: 7.1
I'm not a cinematographer, but I love your channel. Gear thieves are the worst-I've had musician friends get gear swiped from them and it's crushing.
Sad Sad Sad... 😞It hurt me inside to hear about the stolen Nikkors. A few years ago I had some of my Pentax K lenses stolen. Just thinking about it is still very uncomfortable.
But thank you very much for the video. Very interesting, the Xtal was new to me, and great examples as always!👍
Please make more of these, they're incredible! In the next part you should look at the Panavision Ultra Vista lenses, or the large format ALFA anamorphics
The Nikkor AI and AI-S are very underrated lenses. Sorry to hear about your loss.
I adored Dark, so it is nice to see it featured here.
Today I coincidentally watched your last four videos about lenses and I thought I want more.
Now it happened
I have a set of JDC Xtal Express at the rental house where I work. Zeiss super speed taking lenses. They look great stopped down. At T4-5.6, you get that epic Hollywood feel that people want. Wide open, they are quite soft at the corners and the bokeh becomes incredibly stretched and swirly. The mechanical design is tricky and scares a lot of people away. Different diameter for each focal length. The 35mm is a giant oval like shown in your video. Overall, they are not for the faint of heart. But it is important to remember that these were the state of the art when they were new and competed with Panavision glass of the day.
Interesting fun note about the JDC lenses and the Xtal Express - they didn't just do cookes! There are others, including the Zeiss Xtal Express, which used Zeiss Standard Speeds as the base optic. Not sure if PV has those but I have seen them up for sale and hear tell of them, never seen them myself (unlike the cooke ones)
Just picked up a set of supreme primes and am absolutely pumped to start shooting on them
Great series! In an future video it would be interesting to hear your thoughts on the signature primes that have been popular with award winning features recently. Also the Zeiss Supremes, another excellent full frame price set
Do you know what was used to make the Ultra Primes cover the 65 sensor? I have a 5 lens set of those. They deserve every bit of fame they have. Amazing lenses
Thank you very much!! It was very helpful
Love the Nikon AIs man I own a kit myself. I hope you can get them back or upgrade your lens kiìt to something cooler. Great video as always!!
JDC is based out of my town. They have a giant room with all their patents and designs and notes from Kubrick strung around. If you ever shoot in Wilmington, highly recommend checking it out
Please make a video explain specific lighting techniques, including 3-point, backlighting, cove-lighting, etc
Thank you so much for what you doing, dude 👍
Hey In Depth Cine, can you do a video about screenwriting?
Had a set of my go to Canon FD lenses that I converted stolen a few months back as well...sorry to hear about yours
I can imagine the helpless feeling of getting your gear stolen, i remember when out professors Arri Alexa got stolen from one of his sets back in 2018. Gear thieves are the worst...
Love these videos!
Just picked up a 24mm AIS and love it. Sorry to hear yours were grabbed without permission not to be returned.
So sorry to hear about your lenses. I hate hearing about stolen gear.
Very interesting learning about all these different lenses with their unique looks they bring and their focal lengths, was wondering I've been trying to understand the rule of 3rd's in cinematography but find it a bit too complicated, would you be able to cover this at a basic beginners level, thank you.
Use lines to divide the frame into 8 equal parts. Where the lines intersect in the middle is where to place points of interest.
As a home grown cinematographer, I only use 3 cinematic lenses, I also use my old Nikons to bridge the gaps when I need something more. I'd be pretty upset if any of them came up missing.🤬
Dude that sucks about your Nikkon lenses--it's frustrating cause I know how long it takes to build a full set of vintage still lenses for cinematography. I've been building a set of FD's and it's taken me almost two years and I still only have three focal lengths. Could not even imagine how I fould feel if they were stolen. I'm really sorry that happened to you!
Amazing vids as always..
Bummer about your Nikons, I hope they can be recaptured! I shoot a mix of AI, AIS, and series E glass. It would be sad day if something happened to them.
Just for interest what would you say were the characteristics of your late Nikkor Ais lenses? Thanks
What about red lens, 18-85mm?
Buy RF glass. They will be priceless and beloved in the future, trust me
In my decades of experience This is my take. # 1 Panavision around 50% # 2 is a tie between Arri and Zeiss 40%. # 3Cooke 8% . #4 misc 2%.
Hey 👋, can we have a review of zeiss cp3 against sigma cine primes. These are the ones that people can afford to get.
sorry to hear about your Nikons bro
what about popular cinema Films?
Nice Video
Great video!
just a short question. Do you know why and how the cinematographer uses the super 35 ultraprime on an Alexa 65 camera? Did he crop out the vignette in post or the UP can really be used on a 65 or vistavision sensor camera?
I believe all Alexa cameras offer crop sensor modes to account for different lenses/image circles. I know the original Alexa did, I’m not sure if the Alexa 65 allows the same.
Does anyone know the film at 8:37 onwards ?
Sorry about your Nikon glass
the image at 4:53, can anyone name what commercial or film it is please??
Can anyone name the cinemas ? Specially @8:40
How does the T-stop/f-stop of the taking lens interact with the T-stop of T7.1 of JDC? Say if the T-stop of the taking lens is T1.3? Please explain...
I think it's a maximum based on the design of the optics inside. So a T4 lens or a T1.4 lens would give basically the same exposure when mounted on it, the T1.4 might be slightly brighter. This is also the case with some general purpose focal reducers like the Metabones Speedbooster, where they have a maximum amount of light they can transmit, even if it should theoretically be brighter.
@@TechnoBabble First of all, thanks for the reply. Further I kind of agree when it comes to the 2nd part of your reply. With due regard, I think I disagree with the 1st part of your reply as additional optics with different light transmission capabilities will have different effects.
The Frazier macro's (optical)diameter of the transmission part determines the final T-stop except if the taking lens brightness is below T7.1 -I'm sure you can find the technical data on Panavision's website.
@@m.i.andersen8167 Thanks 🙏 for the reply. But if we go by the formula for T-stop i.e. Focal length ➗ {diameter of the entrance pupil multiplied by (root transmission percentage)} of both taking lens & JDC, & then calculate accordingly the effective T-stop will be more than T7.1, unless the T-stop of taking lens is less than 1. I think...
@@saurabhkumarjain7 T-stop is transmission value where losses in coating and lenses are included. F-stop is - not "diameter of the entrance pupil multiplied..", but focal length divided by the diameter of the opening of the aperture seen from the front (only on symmetrical lens designs it fits somewhat if you measure on the front lens). The taking lens is in series with the JDC and therefore no more light gets through than what the JDC allows. Imagine a T-1.3 lens in front of a black piece of paper with a hole corresponding to aperture 7.1 - Total brightness: 7.1
nooooo pour one out for you lenses. Here's to hoping you can acquire another set.
Sorry about those lenses man 😤
To my wallet, Samyang is the best option
i eat dinner to your videos. 🧘♂