Arles vignettes, not as bad as the Argus but still noticeably. See my video on “why fast lenses matter” and I show some before/after vignette correction on those lenses. As for Resolve - I think it is the BEST value in filmmaking. Better than any lens or camera, and it’s $300 for LIFE!!! I’d rather have Resolve and a good graphics card than my V-Raptor. If I had to choose, that is. I’d rather keep both if I can :-)
Hi. Tell me, what do you think oiliness means in the way the lens draws? Is DZO Alert, for example, oily in terms of bokeh and transitions? Can we say that the standard of oiliness is the cooke lenses? For example, if I want to get a lens that draws like Edouard Cortes, what can I buy on the market?
I think what you’re asking about is so-called “painterly” look. Is that correct? Such a description is usually associated with lenses having swirly bokeh, or anamorphic lenses. So things like the Helios lenses, Petzval lenses, Lensbaby Swirl, etc. it all depends on what exact look you want. I can’t tell you how you personally would compare them to the work of a particular artist. I think the word “painterly” is unhelpful and another one of those words people just use when they don’t know how to describe what they want.
@@nick_salazar No, I was just interested in this term because I heard it from filmmakers. And here we do not mean any geometric distortion like the swirling or the shape of a star. I would say it means an oily effect that, when out of focus, turns the background and individual areas into a kind of painter's brushstrokes. Moreover, the area of transition from the sharpness of the foreground object to the area of blurring is also important. At the same time, I repeat, the blurred background remains as if smooth.
@@nick_salazar That's right, I remembered, there are double effects in the side. Barely noticeable, but it seems that these are brush strokes.That is, in the area of blurring, we see a doubling of the lines of objects.
Yes, even famous filmmakers use unhelpful terms like “painterly” - some people are great artists but not always good with technical knowledge. I’m not sure what a “doubling” is, or what look exactly you’re after. My best advice is to try your best to understand the technical side, research lens design to the extent you are able, look at all the sample footage you can find, and go for lenses that speak to your heart. Ultimately good artists can work with any tools, but the more specific your choices, the more specific your art.
@@nick_salazar Thank you. I think that I will be able to find a scientifically based description of optical defects called oiliness. At least I managed to find out from zenit developers that such effects can be caused by unpopular optical circuits involving two pairs of very thick glued lenses.
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Nice! Good to know!
Nice video 👍🏼 Do the DZO Arles Primes also vignette as much? Maybe it is time for me to finally switch from premiere to resolve 🙈
Arles vignettes, not as bad as the Argus but still noticeably. See my video on “why fast lenses matter” and I show some before/after vignette correction on those lenses. As for Resolve - I think it is the BEST value in filmmaking. Better than any lens or camera, and it’s $300 for LIFE!!! I’d rather have Resolve and a good graphics card than my V-Raptor. If I had to choose, that is. I’d rather keep both if I can :-)
Hi. Tell me, what do you think oiliness means in the way the lens draws? Is DZO Alert, for example, oily in terms of bokeh and transitions? Can we say that the standard of oiliness is the cooke lenses? For example, if I want to get a lens that draws like Edouard Cortes, what can I buy on the market?
I think what you’re asking about is so-called “painterly” look. Is that correct? Such a description is usually associated with lenses having swirly bokeh, or anamorphic lenses. So things like the Helios lenses, Petzval lenses, Lensbaby Swirl, etc. it all depends on what exact look you want. I can’t tell you how you personally would compare them to the work of a particular artist. I think the word “painterly” is unhelpful and another one of those words people just use when they don’t know how to describe what they want.
@@nick_salazar No, I was just interested in this term because I heard it from filmmakers. And here we do not mean any geometric distortion like the swirling or the shape of a star. I would say it means an oily effect that, when out of focus, turns the background and individual areas into a kind of painter's brushstrokes. Moreover, the area of transition from the sharpness of the foreground object to the area of blurring is also important. At the same time, I repeat, the blurred background remains as if smooth.
@@nick_salazar That's right, I remembered, there are double effects in the side. Barely noticeable, but it seems that these are brush strokes.That is, in the area of blurring, we see a doubling of the lines of objects.
Yes, even famous filmmakers use unhelpful terms like “painterly” - some people are great artists but not always good with technical knowledge. I’m not sure what a “doubling” is, or what look exactly you’re after. My best advice is to try your best to understand the technical side, research lens design to the extent you are able, look at all the sample footage you can find, and go for lenses that speak to your heart. Ultimately good artists can work with any tools, but the more specific your choices, the more specific your art.
@@nick_salazar Thank you. I think that I will be able to find a scientifically based description of optical defects called oiliness. At least I managed to find out from zenit developers that such effects can be caused by unpopular optical circuits involving two pairs of very thick glued lenses.