@@joinjanis6986 The 21 is maybe a bit too wide for my taste and the type of video I shoot. But overall, those are great lenses and work well when you work in team. I would love to get a 28mm !
I have the same 3 lenses and find they cover a great range for most of my needs. Great looking lenses, nice color match and minimal breathing. I will likely get the 90mm macro next.
Very professional video and cool that DZO Film added the 40mm to the set. I used some vespid primes and they're nice when I had them on my FX6. I'm still thinking about buying a full set of them. Maybe soon.
With a 28mm @ a 1.45 super35 crop you can get 42mm. You can get to 40mm with a 25mm with a 1.6 crop to get 40mm straight up. You have to know the crop value of your s35 camera. Take the focal length X the crop.. until you equal 40. In the example above a 28mm X 1.45 crop = 42mm.
It depends, do you want to match the look of a 40mm as used on the Godfather (4perf 35mm ie: S35) or the look of a 40mm as used on 1917 (Alexa mini LF).
Not at all. It's 40mm on fullframe, the person on the video has right. For the Godfather the film was shot with a 35mm Film Negative Width (which is the equivalent in digital of full frame) and 90% of the movie was done with a 40mm focal length. For 1917, Roger Deaks used the Arri Alexa Mini LF with the ARRI Signature Prime 40mm T1.8 Lens for 90% of the movie. The "equivalent" for the Super 35 format is the 28 mm focal length.
@@apentice001 Simply wrong. 35mm motion picture negative (3 perf or 4 perf) runs vertically through the camera. This has the same frame size as a modern S35 sensor. So called "full frame" in film terms is called VistaVision, or 8 perf and runs horizontally through the camera. So no - Gordon Willis didn't shoot on full frame - he shot on the equivalent of S35 using a 40mm lens... which in FF / 135 terms would be close to 60 / 65mm lens.
The only drawback for us super35 guys... is that we don’t get to enjoy that 40 range. Because 40 for us is more like a 28! So that 40 on our super35 would be closer to a 60 for us. Sucks... because I love the look of my super 35... but I want that 40 range as well.
@@JosephBaca813 big facts!!!!! I think that’s why they made the 25mm prime, but it still doesn’t feel like a true 40 in my opinion, feels a little too tight to be exactly 40mm. I’m with you man... fingers crossed!!
@@Dezdirectz Us super 35 guys don’t really have a true blue 40mm. You’d have to put this 40mm on a full frame to get 40mm. So this 40mm on a super 35 isn’t really 40mm. That’s why the company made it for full frame cameras as well. Because that’s the only way you’re going to get 40mm out of it.
28 would be great to Vista Vision too. A 21/28/40/75 set is better for cinematic photography than the classic 25/35/50/75 that mimics still photography kits. In still photo you cant get too close the subjetcts. Its also better to s35mm format.
The Godfather used a rehoused Cooke Speed Panchro 40mm, which Gordon Willis had Panavision rehouse to add to the Super Baltar set. Very easy to find this information online.
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Just received my 21/40/75 lenses. I already in love after the first shoot I did with them
Thinking the same. Do you miss something or you happy with your choice?
@@joinjanis6986 The 21 is maybe a bit too wide for my taste and the type of video I shoot. But overall, those are great lenses and work well when you work in team. I would love to get a 28mm !
I have the same 3 lenses and find they cover a great range for most of my needs. Great looking lenses, nice color match and minimal breathing. I will likely get the 90mm macro next.
So question…were the films that shared 40mm in common that you mentioned in the beginning shot on Full Frame or S35? 🤔
Very professional video and cool that DZO Film added the 40mm to the set. I used some vespid primes and they're nice when I had them on my FX6. I'm still thinking about buying a full set of them. Maybe soon.
Chillstep is just soo damm good when it comes to lenses & review s really awsome vibe man
Can’t wait to play with the new DZO retro vintage lenses coming out next month!!!
Very nice and extremely helpful.
Excellent video. Deserves tens of thousands of views at LEAST.
Nice glass. Please advise, if all the 40mm lenses are full-frame, how does one get a 40mm perspective on a Super35 sensor?
Speed boosters
With a 28mm @ a 1.45 super35 crop you can get 42mm. You can get to 40mm with a 25mm with a 1.6 crop to get 40mm straight up.
You have to know the crop value of your s35 camera. Take the focal length X the crop.. until you equal 40. In the example above a 28mm X 1.45 crop = 42mm.
A 40mm on a komodo (1.42 crop factor) would be a 56.8mm.. so i should get the 35mm if i want the 40mm look, right?
It depends, do you want to match the look of a 40mm as used on the Godfather (4perf 35mm ie: S35) or the look of a 40mm as used on 1917 (Alexa mini LF).
Great guy, great lense
These DPs used 40mm lenses on super35 cameras, therefore its actually 65mm on modern full frame sensors...
Not at all. It's 40mm on fullframe, the person on the video has right. For the Godfather the film was shot with a 35mm Film Negative Width (which is the equivalent in digital of full frame) and 90% of the movie was done with a 40mm focal length. For 1917, Roger Deaks used the Arri Alexa Mini LF with the ARRI Signature Prime 40mm T1.8 Lens for 90% of the movie. The "equivalent" for the Super 35 format is the 28 mm focal length.
@@apentice001 Simply wrong.
35mm motion picture negative (3 perf or 4 perf) runs vertically through the camera. This has the same frame size as a modern S35 sensor.
So called "full frame" in film terms is called VistaVision, or 8 perf and runs horizontally through the camera.
So no - Gordon Willis didn't shoot on full frame - he shot on the equivalent of S35 using a 40mm lens... which in FF / 135 terms would be close to 60 / 65mm lens.
The only drawback for us super35 guys... is that we don’t get to enjoy that 40 range. Because 40 for us is more like a 28! So that 40 on our super35 would be closer to a 60 for us. Sucks... because I love the look of my super 35... but I want that 40 range as well.
Agreed, I would love a 28mm Vespid Prime! Hope they make one next..
@@JosephBaca813 big facts!!!!! I think that’s why they made the 25mm prime, but it still doesn’t feel like a true 40 in my opinion, feels a little too tight to be exactly 40mm. I’m with you man... fingers crossed!!
@@parliamentpictures2217 are you talking about the 25mm feels too on a super 35 sensor? Can you elaborate please
@@Dezdirectz Us super 35 guys don’t really have a true blue 40mm. You’d have to put this 40mm on a full frame to get 40mm. So this 40mm on a super 35 isn’t really 40mm. That’s why the company made it for full frame cameras as well. Because that’s the only way you’re going to get 40mm out of it.
28 would be great to Vista Vision too. A 21/28/40/75 set is better for cinematic photography than the classic 25/35/50/75 that mimics still photography kits. In still photo you cant get too close the subjetcts. Its also better to s35mm format.
all shot on 40mil lens but on a different sized "stock" tho...
Vijante adutha family trip barsalona 😂...
The Godfather was shot on Bausch & Lomb Super Baltar lenses and there is no 40mm in the lineup. They are 20/25/35/50/75/100/152mm.
The Godfather used a rehoused Cooke Speed Panchro 40mm, which Gordon Willis had Panavision rehouse to add to the Super Baltar set. Very easy to find this information online.