216 The Digital Filmmaking Handbook, 4E

Working with Interchangeable Lenses

Until very recently, standard lowto mid-level video cameras came with a lens that was builtin and could not be changed. However, thanks to the DSLR trend, that is changing fast, and there are several lower-priced cameras on the market that offer the best of both worlds: the image sensor size and lens interchangeability of DSLRs housed in a camera body that is designed for motion (see Figure 10.5).

Figure 10.5

The latest generation of video cameras in the $5,000 range, such as the Panasonic AG AF-100, offer large image sensors and interchangeable lenses.

So why is changing the lens so great?

Primarily because it results in a truly customizable camera. You can opt for an ultra-wide fisheye lens or an extreme telephoto lens—both of which are far out of the range of a standard built-in lens. You can also have a selection of lenses on hand to suit your shooting needs (Figure 10.6).

Because you can change lenses, you might opt for an extremely high-quality lens. Lenses by Zeiss, Schneider, Nikon, and the Canon L series are known for their high-quality optics that will result in better looking footage.

Also important is that some modern prime lenses are extremely good at shooting in low-light situations. Look for lenses with an f-stop rating of 1.2 or 1.4 like the one in Figure 10.7.

What Lenses Do I Need?

At the most basic level, you will need a wide-angle lens, a normal lens (one with a field of view roughly equivalent to the human eye), and a telephoto lens. Another option is to choose three zoom lenses: one in the wide-angle range, one in the middle, and one that covers a range of telephoto angles.

Figure 10.6

Prime lenses for cinema shooting usually come in matched sets, like this set of Zeiss CP2 Compact Primes. Note the distance markings on the lenses for setting focus.

Some lenses such as the 50mm Canon f1.4 lens shown in Figure 10.7 are more suited to portraitlike shots, and you’ll use them a lot for singles of your actors or for interview setups. Their wide maximum aperture makes it easy to achieve a shallow depth of field. Wider lenses are more suited to big panoramas and can help when shooting in cramped spaces. Comedies are typically shot with wide images, because they make people look a little distorted, and typically make them appear much smaller in their environment. If your schedule is tight, using zoom lenses means you won’t have to change lenses as frequently. Certain camera functions are lens-specific: zoom control, focusing, and image stabilization.

The lenses you choose will ultimately be tied to the story you are shooting so there is no quick answer to what the right lens selection is for your project. But the good news is that most major cities have rental houses that rent lenses at a reasonable price, and you can always send someone to go pick one up if you find you need a specific lens mid-shoot. If you don’t have access to a rental house, consider an online rental source such as borrowlenses.com or rentglass.com.