The camera and lens captured every tonal nuance with unmatched detail, gradation and color. The Signature Primes were an obvious choice for this project – the creative latitude they provide is unparalleled. The Signature Primes are great lenses. Suggest you read the lens tests here on this sight, and read how they perform with aps-c sensors and then how they perform for those with the FX sensor K1 and K1 mk. I am thrilled by the natural and organic look, the pleasant sharpness without disturbing micro-sharpness, the warm color rendition in combination with very natural skin tones, and the richness of details deep into the blacks. 11 to find the gems among them. Le Dauphiné Libéré des enfants est un journal pour les 6-11 ans créé par Le Dauphiné Libéré. When Films at 59 purchased full-frame cameras there was only one real lens choice, and that was the ARRI Signature Primes. I discovered the Signature Prime lenses filming "Gauchos" and they totally seduced me. Being made of magnesium they are nice and light for handheld work, whilst maintaining a fast, uniform speed across nearly all the range. Cinematographer Dan Laustsen ASC, DFF (known for: The Shape of Water, John Wick: Chapter 2 and 3, Crimson Peak and many more). As a DP I am able to explore areas I wasn’t able to before. Cinematographer Tey Clamor, LPS (known for: Isa Pa With Feelings, Us at the End of the Year , The Girl and the Gun and many more). ARRI Build QualityAlmost a century of experience, an obsessive attention to detail and an intimate familiarity with the conditions on set have led to generations of ARRI cameras that are robust, reliable and simple to operate - all features that our digital cameras have inherited. The lenses are also very lightweight, which is crucial for action films with quite a lot of handheld scenes. Expand your technical know-how and discover the aesthetic aspects of our lenses. Watch over 3 million of the best porn tube movies for FREE! From warm, smooth skin tones to soft bokeh and delicate flares, the showreel demonstrates the benefits of the Signature Primes with footage from productions around the world. Cinematographer Guillaume Schiffmann AFC (known for: How to Be a Good Wife, My Cousin, Waiting for Bojangels, and many more). Showcasing the versatility of the Signature Primes and their ability to render emotionally rich images in all weather and lighting conditions, from bright exteriors and sun-filled rooms to atmospheric nightscapes, muted cloud cover and shadowy interiors. Cinematographer Stefan Duscio ACS talks about shooting a character that can’t be seen. “Thanks to the gorgeous ARRI Signature Prime lenses and TRINITY, we created an amazing single-shot film!" Moving lights, ghostly shadow effects, angular and curved forms, architecture and perspective, raw materials and tools-all reveal the distinctive texture of ALEXA LF images. I have the super takumar 35mm f3.5 which I love, but others love the SMC version even more. Many videographers like the super takumar, SMC takumars, and the K mount takumars for sharpness and some for their flaring and flares. The compact design of the Mini LF as well as the amazing light weight of the ARRI Signature Primes allow fast and flexible work. Beautiful lenses. The Pentax A 28 f2, 50 f1.2, and 85 f1.4's are all loved lenses by Pentax shooters. Cinematographer Christopher Doyle, HKSC (known for: In the Mood for Love, Happy Together, 2046, Port of Call and many more). The Signatures have become an industry standard in record time. They are immaculate. Warm, smooth skin; open shadows with crisp blacks; and bokeh like looking through a window in the rain. The ARRI Signature Prime range is the first to incorporate ARRI’s next-generation LDS-2 Lens Data System, with high data rates and absolute encoders for fast initializing. My personal favorite manual focus Pentax 85 is the A* 85 f1.4 but it is rather expensive. Initially that was what attracted me, but once I started using the lenses, I have been amazed at how they render skin tones—and color in general. We were also very surprised at how it captured such delicate and elegant tones from the actors' skin and the natural lighting from outdoor scenes. T1.8 allows for a very shallow depth of field and they have a very nice focus roll off. Rehousing is when you take a still photography lens (or any particular lens, can be a projection lens or a particular old cine lens), and you use the glass of it in a Cine Lens housing. I discovered a new approach in my camera work, a new distance with the people I was filming. In contrast with other ALEXA LF showreels exploring low light and shadow, cinematographer Tom Fährmann BVK shot a diverse palette of faces and skin tones against a white background. Crop factor for 8mm / super 8 cine lenses. $13.80. and many more). Cinematographer Kyle Krupinski (known for: Parallel Chords, The Solipsist, Under the Grove and many more). Copyright © 2021 ARRI AG. Oh yes, and then there are the great many limiteds which I do not (yet) own... rehaused Is not a word that’s commonly used in my experience in America. I really like the Signature Primes. Cinematographer Bill Bennett ASC (known for: Kiss or Kill, In einem wilden Land, Outback and many more). Cinematographer Remi Adefarasin OBE BSC (known for: Jingle Jangle, Elizabeth, The Last Vermeer and many more). For this to happen the lens has to sit precisely where it should be, responsible for that is the lens mount.Get to know all our lens mounts and find out what makes our new LPL mount unique! Cinematographer Stijn Van der Veken, ASC, SBC, shooting Outlander Season 5 (Known for: Outlander, Death of a Shadow, Murk Light and many more). @Gaute Gunnari, DP of Netflix show “Young Wallander”. The Nano system is compatible with all DSLR, mirrorless, and modified âcine-styleâ vintage ⦠MOD from sensor plane (minimum marked distance), Fine details beautifully rendered with smooth focus fall-off, Copyright © Sean Drummond / Paxeros Creative, ARRI Signature Primes SUP 2.1 Certificate. $9.20. It’s a very clean look, but not too sharp; it has a softness that seems very film-like to me, and when I put flare in the lens it really looks beautiful. Cinematographer Michael Dwyer (known for: Justin Bieber: Seasons, Pocha: Manifest Destiny, I'll Sleep When I'm Dead and many more). Learn more: https://www.arri.com/largeformat. Good Starting Point for Olympus OM-D cameras: popularity : 13957: download : Oly_OM-D EM5 II_Vintage_2.dtstyle: tags : ⦠Thanks to the Signature Prime lenses, I had my first encounter with large format. We can be closer to the action; a physical step that makes all the difference with the classical format I was used to. The ability to add rear elements to give a distinctive look is an added bonus. It features a mechanical design with three independent lens control rings: focus, iris, and zoom. In this way new developments and ways to shape the DoP's vision on set can be integrated into our cameras via new software releases. It's sold body only (handy if you already have Sony lenses), but if you intend buying it with a kit lens we'd recommend paying the extra for the Sony 18-135mm f/3.5-5.6 lens, which has much longer reach and better optical quality than the standard 16-50mm f/3.5-5.6 PZ lens. Whether for a movie, TV series, or commercial, the timeless look of ARRI Signature Primes adapts to different styles and situations, capturing stunning images in hard light, soft light, or almost no light at all. With the 25 mm Signature Prime lens, you feel like you are there in the scene with the actors. Cinematographer Logan Schneider (known for: Drunk History, Gentefied, Watson, Ave Maria Bamford and many more). A l'instar des autres sites de la marque Auto Moto, le site pro.auto-moto.com a vocation à traiter toute l'actualité automobile à destination des professionnels à travers des sujets sur l'achat/vente de véhicules, l'assurance, le financement, la location, la fiscalité, la mobilité et toutes les autres thématiques liées aux utilitaires ⦠Cinematographer Keiko Nakahara (known for: The Jane Austen Book Club, Shakuntala Devi, Tanhaji: The Unsung Warrior and many more). I am interested in investing in a kit of SLR lenses for make them rehoused cinema lenses, since I am advising investors in a future rental house with which I am going to work. Cinematographer Michael Seresin ONZM, BSC (Known for: Harry Potter and the Prisoner of Azkaban, Mowgli: Legend of the Jungle, Dawn of the Planet of the Apes and many more). The Nucleus-Nano (WLC-T04) is a revolutionary wireless lens control system specifically designed for handheld gimbal systems. To me, the system embodies typical ARRI quality, but there is a new level of emotion to the images—a smoothness to the way the camera and lenses work together. Thanks to the minimal “breathing” of the ARRI Signature Primes - shifts in focus are hardly noticeable even in fixed tableaus and therefore appear extremely subtle. All rights reserved. Great small wide lenses for super 35mm would be the limited 15mm and 21mm apsc lenses, if they can be outfitted with apertures as part of their cine-mods. The image that the LF and the Signatures produces seems, to me, more like what my eyes see than anything else I experienced so far. The combination of my ALEXA Mini LF with the ARRI Signature Primes (provided by Cinegrell) was the perfect choice for the shooting of the Swiss "Aller Tage Abend." Cinematographer Maxime Alexandre AIC (Known for: The Haunting of Bly Manor, Shazam!, The Nun and many more). Wow, what a beautiful lens, brilliant skin tones! $0.00. The ARRI Signature Primes have proved to be a gamechanger, both on set for our clients and also for the rental aspect of our business. I was quite surprised at how good the Signature Prime Lenses were. To offer lens customers an even greater level of support, ARRI has recently expanded its lens service capabilities. Cinematographer Man-Ching Ng, HKSC (known for: Rise of the Legend, Rigor Mortis, Infernal Affairs II & III and many more). Shooting wide open with ARRI Signature Prime lenses for shallow focus and gorgeous bokeh, cinematographer Matias Boucard works purely with natural light and available sources. Reading on the web it seems like a form of refurbished? Cannot speak about lenses that are wider and more tele, but there are also 85mm and 135mm Pentax lenses that are super and there are also 18mm, 15mm, and 20mm lenses that are also considered superb for digital photography, if you read the reviews. Almost every shot in the film is a loving homage to 1940s private eye cinema (such as THE MALTESE FALCON and THE BIG SLEEP) filtered through a 1980s MTV-style lens. WorkflowThe concept behind the term "workflow" is the digital film lab. LDS-2 extends the possibilities of lens data and can be licensed to other lens and camera manufacturers. The blacks are beautiful, and the lenses are so lightweight; they are the best lenses in the world right now. https://www.pentaxforums.com/lensreviews/, Kimcamera - Sent to customers after rehousing work Pentax... | Facebook. I enjoy using these lenses in combination with ARRI’s large-format cameras, because, thanks to the large sensor, the image becomes much deeper, more saturated compared to other cameras. ARRI is releasing Signature Prime Software Update Package 2.1, including Lens Firmware LMC V2.1, Lens Bootloader V1.5 and Sensor Firmware V2.06. ARRI LPL lens mounts are available for ALEXA 65, ALEXA LF, ALEXA Mini LF, ALEXA Classic/XT/SXT, ALEXA Mini and AMIRA cameras. There were significant restrictions on space and light, as the project was shot in a real life apartment, and not on a sound stage. The marriage of the ALEXA LF and the Signatures is an absolute winner! Cinematographer Gennady Uspangaliev (Known for: My Personal Island, The Rules and many more). Cinematographer Karl Walter Lindenlaub ASC, BVK (Known for: Independence Day, Black Book, Chronicles of Narnia, Halo and many more). For now we are thinking about the Pentax A, 28/2, 35/2, 50/1.2 and 85/1.4 extendable in a second stage to 16/2.8, 20/2.8 and 100/2.8 macro. Un libro electrónico, [1] libro digital o ciberlibro, conocido en inglés como e-book o eBook, es la publicación electrónica o digital de un libro.Es importante diferenciar el libro electrónico o digital de uno de los dispositivos más popularizados para su lectura: el lector de libros electrónicos, o e-reader, en su versión inglesa.. Aunque ⦠I see in it a real option that refines the staging and the image. The filter holder is magnetic, allowing fast and easy changes between looks, with no tools needed. The Signature Primes are hyper sharp but they have a smooth roll off so they don’t feel that way. Franco has stated that he attempted to sustain a comic-book look in ⦠This choice was made due to the lens’s extreme light weight. Reading on the web it seems like a form of refurbished? Il paraît toutes les six à huit semaines et est distribué dans les écoles aux 217 000 élèves du CP au CM2 de l'académie de Grenoble (Isère, Savoie, Haute-Savoie, Drôme et Ardèche) et à leurs professeurs. I love the lenses; they strike a wonderful balance between modernity and character. Super! I was really interested in the unique focal lengths that the Signature Primes offered. As a cinematographer, our obligation is to show things in a better way and in a different way, in ways you haven’t seen before. Rehousing is when you take a still photography lens (or any particular lens, can be a projection lens or a particular old cine lens), and you use the glass of it in a Cine Lens housing. We shot often at full opening and we could appreciate the magnificent bokeh, the beautiful flair, and the fine optical behavior even in our rather difficult shooting conditions. The ALEXA LF camera and Signature Prime lenses are an elegant combination. Cinematographer Nikita Gorodnichenko (Known for various music videos, short films and commercials). You could mix and match... getting the best optical example of each focal length. Quite frankly, the quality blew me away. The ALEXA LF with the Signature primes is just amazing! For one of my most recent projects, I used a special helmet with the camera (Sony Venice) and Signature Prime 21. Using them gave me a lot of creative freedom to work on different kinds of set-ups – indoor, outdoor, harsh lighting, soft lighting. Cinematographer Roger Deakins CBE, ASC, BSC (known for: 1917, Blade Runner 2049, Skyfall, Sicario, No Country for Old Men, O Brother Where Art Thou? Remote Phosphor Panels, Panel Carrying Bags, Conversion Filters, Softboxes, Accessory Holders & Speed Rings, Tiny Studio - No Automation - Stellar Control, Medium Studio - Full Automation - Redundant DMX Control, Small Studio - No Automation - DMX Control, Large Studio - Semi-Automated - IP and DMX Control, Medium Studio - No Automation - DMX Control, Large Studio - Semi-Automated - Redundant IP and DMX Control, Medium Studio - No Automation - Redundant IP and DMX Control, Software and Firmware Updates for Cameras, Software Update for Wireless Video System, Certified Training for Lighting Fundamentals, Hélène Louvart AFC shoots with ARRI cameras on both Super 16 and digital, Luo Pan ASC behind the scenes on "The Sacrifice", “You Will Die At Twenty” crew on working with ARRI, Exceptionally soft bokeh for increased sense of separation, Unparalleled flexibility with magnetic rear filter holder, No visible focus breathing and no distortion for easy tracking, Minimal chromatic aberration for a perfect key, Optimal results with all sensors due to near-telecentric design, New mechanical design concept for easier service, Covering all image circles up to large format 46 mm, Backwards compatible with PL-mount lenses through rock-solid PL-to-LPL Adapter. say writer/director Isabel Anderton and producer Christine Hartland from "The Yearning," a short film made with Directors UK ARRI TRINITY Single-Shot challenge and filmed on location in the traveling Zyair Circus featuring Isis Hainsworth, Barry Ward, Bianca Guh, Gabriel Mansour. We develop our own Software Development Kit (ARRIRAW SDK) for processing ARRIRAW data to RGB images and talk to 3rd party vendors to ensure support in their tools. I enjoyed doing the DI for 'Jingle Jangle' creating SDR & HDR masters. I think they put a lot of interesting ideas in those lenses. I love the image from the Signatures. The added benefit of the magnetic rear net holders made these lenses a no-brainer, allowing us to have consistent net stretches across the entire lens range. Nowadays the ALEV III comes to live in different cameras and shapes: ALEXA 65 uses the A3X version - a 65mm sensor - whereas ALEXA LF and ALEXA Mini LF use A2X, the slightly smaller variant that covers a little bit more than "full frame". I loved the large aperture, the shallow depth of field, and the way it produces a cinematic look and feel. It's also retro-punk and looks forward to more familiar cine-comic books, such as SIN CITY. ARRI has shared LPL specifications openly and free-of-charge across the industry, establishing the LPL lens mount as a standard interface between cameras and lenses. Ranging from 12mm to 280mm, the lens series features 16 focal lengths, which are the most comprehensive assortment of large-format lenses available. They have unique painterly quality in the way they render skin tones and shadows. Discover how retro filmmaking techniques such as nets, and diopters can help you customize the look of your Signature Prime lenses. ALEXA LF with 25, 47, 75 and 125 mm ARRI Signature Prime lenses. From warm, smooth skin tones to soft bokeh and delicate flares, ARRI's Cinema Lens Specialist Art Adams shows you the four unique characteristics to look for in the new Signature Prime lenses. An additional way to explore different looks with the Signature Primes is to use ARRI’s uncoated replacement front element, which can be fitted by the user in just a few minutes to increase flaring, ghosting and reflections. $4.60. It’s wonderful how it’s apt for skin tones, for varying lighting ratios, and the blacks are really beautiful. Cinematographer Tom Stern AFC, ASC (known for: Changeling, The Hunger Games, American Sniper, Flags of our Fathers and many more). Varying portrait lighting illustrates the humanity, color and exceptional clarity of the ALEXA LF/ARRI Signature Prime combination. Often, I was at T2 or T2.8, but there were times when I closed the iris to see more of a location, and others when I opened it up to take advantage of the very shallow depth of field. Cinematographer Stephan Massis (known for: Un monde à nous, Looking for Cheyenne and many more). Cinematographer Hyuk-Jun Yoo (known for: Leverage, Oh My Baby and many more). Oly_OM-D EM5 II_Vintage_2: author: Norman Schülke: description : Olympus Picture Mode Vintage 2: Created with IT8 Target by Wolf Faust using darktable-chart. Getting the right lens is not easy and rehousing is a difficutt and expensive process. All of them are captured perfectly by the ARRI large-format system. Rec2020 Input color profile. Ranging from 12mm to 280mm, the ARRI Signature Prime lenses offer a unique look never seen before in cinema. It makes it possible for a single operator to control a lens gear while simultaneously operating their gimbal. To capture the cinematic vignettes for our feature documentary, we turned to ALEXA Mini with ARRI Signature Primes. And the best part is how skin tones look. The image is superb and in combination with the ALEXA Mini LF they are seriously tough to beat! Cinematographer Simon Huber (Known for: Aller Tage Abend (currently shooting), Lasst die Alten sterben, Experiment Schneuwly and commercials for FIFA, Coca-Cola, Virgin, Samsung and many more). As a rental house owner the artistic attributes of the Signatures and the fact that they are LPL-mounted and ARRI-branded make them a solid investment. Pentax Q + 01 Standard Prime + Cine lens + extras. As one of the world's leading manufacturers of motion picture cameras, lighting, and archival equipment, ARRI is also committed to providing the finest technical support for its products at 13 advanced service centers worldwide. CANON IXY APS CAMERA. For this story, we used mainly wide-angle lenses and hard lighting. Capturing human friendships on location in Thailand, this clip beautifully showcases the detail, dynamic range and sensitivity of ALEXA LF. I love how the out-of-focus areas are rendered, contributing to a rich and vivid overall look. That said, the 24mm f3.5, 28mm 3.5, 55mm f1.8 and 50mm f1.4 Super Taks are almost legendary for their performance for stills and digital video. I designed shots to look directly into the sun. We as cameramen miss film obviously, we miss the organic look of film and having lenses that render faces in a more organic way is really important. The well-known cinematographer Christopher Doyle to give his feedback on the Signature Prime lenses, which he used for his latest movie “Just 1 Day”. Tom Fährmann BVK uses ALEXA LF and ARRI Signature Prime lenses to document the creative preoccupations of an architect, which bear striking similarities to those of a cinematographer: light, texture, detail, and the expression of emotions through practical skill. These lenses appeal to me because they're soft, but, depending on how I light the shot, I am able to get a more or less contrasted image. They are very transparent in color and light and the out of focus areas (bokeh) of the Signature Primes are very precise. For example, I leave you 2 pictures of the same lens, a Sigma 18-35mm f1.8/t2.0. ". Alternatively, glass elements can be used to simulate vintage lenses, with images sharp in the center but deteriorating in the corners. Cinematographer Wang Yu navigates the atmospheric studio and creative inspirations of the celebrated Chinese artist and furniture-maker, Shao Fan. The 20 f2.8 is also very apricated in a system that doesn't have as many wide angle options as other systems might offer. They are extremely fast and have a great flare resistance! In my opinion, Signature Primes have a wide range of features to suit any need, whether it be shooting commercials, music videos, or feature films.