ATGGI 4 Reasons why we bought this 60k+$ lens
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- čas přidán 11. 07. 2024
- We know it sounds crazy to spend over $60,000 for a lens. It sounds very expensive, and it is. But it's also totally worth it for us. In this video, we talk about the four most important reasons why this lens was one of the best decisions we made.
Tell us what you think about the Arri Signature Series!
00:00 - Intro
00:13 - What's the Lens?
00:33 - Reason 1
01:15 - Reason 2
01:29 - Reason 3
01:48 - Reason 4
02:46 - Outro
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You are taped cheap filter direct on front of lens ? It's so creativity !
Thanks for this. Very helpful to see professional examples of lenses in general rather than typical CZcams influencer low level content. Looking forward to seeing more
HOLY CRAP. no way. The signature zooms match each other? that's, um, super surprising.
Sorry if I we were stating the obvious for you. We thought some people might find this info useful 🤷♂️
I think highlight roll off is determined by dynamic range and how you rate your iso relative to the gamma you are using when working with digital sensors.
I think micro-contrast isn’t a thing unless you work in marketing. Contrast is. This lens has good contrast between light and dark areas.
Thats not true. Highlight-rolloff is definitely also a glass thing. And there are many sources about micro-contrast on the web: yannickkhong.com/blog/2016/2/8/micro-contrast-the-biggest-optical-luxury-of-the-world
alikgriffin.com/micro-contrast-is-it-real/
ChatGPT says this:
Micro-contrast refers to the ability of a lens to distinguish and render fine details and subtle variations in tone, color, and texture within an image. In the context of high-end cinema lens glass, it is a crucial factor that impacts the overall quality and aesthetic of the footage. Here are some key points about micro-contrast in high-end cinema lenses:
1. Fine Detail Resolution:
• Micro-contrast allows lenses to resolve very fine details in an image, such as the texture of fabric, the grain of wood, or subtle skin details. This contributes to a sharper, more realistic depiction.
2. Subtle Tonal Variations:
• Lenses with high micro-contrast can capture and reproduce subtle variations in light and shadow, which are essential for creating a sense of depth and dimension in the image.
3. Color Accuracy:
• High micro-contrast enhances color differentiation, ensuring that slight differences in hue and saturation are accurately rendered. This is particularly important in cinematography, where color grading and the overall color palette play a significant role in storytelling.
4. Clarity and Realism:
• By accurately capturing fine details and tonal variations, lenses with good micro-contrast contribute to a more lifelike and immersive viewing experience.
5. Contrast Handling:
• Micro-contrast is different from overall contrast, which refers to the difference between the darkest and lightest parts of an image. While overall contrast affects the general “punchiness” of an image, micro-contrast deals with the fine-scale transitions and details.
6. Lens Design and Materials:
• Achieving high micro-contrast requires precise lens design and high-quality glass materials. Elements such as aspherical lenses, low-dispersion glass, and advanced coatings are used to minimize optical aberrations and maximize detail resolution.
7. Practical Implications:
• In practical terms, lenses with high micro-contrast are highly valued in high-end cinema production because they provide greater flexibility in post-production, allowing for more effective color grading and detail enhancement.
8. Visual Aesthetic:
• The visual aesthetic created by high micro-contrast lenses is often described as having a “crisp” or “rich” quality. This is because the images produced have a high level of perceived detail and texture.
In summary, micro-contrast is a critical attribute of high-end cinema lenses, influencing the clarity, realism, and overall aesthetic of the captured footage. High micro-contrast lenses are essential for filmmakers who require the utmost detail and subtlety in their visuals.
Thought of bringing them but I eventually went with the Fujinon premista, easier to rent since they are PL.
Yes, good point. LPL is a bit more difficult.
Would you like a single ARRI 16-35 lens... or Sony Venice 2 with a Sony 16-35 f/2.8? My choice wouldn't be the single ARRI lens.
Hm tough question honestly. In the end it always comes down to what you want to shoot. If it was a documentary or a documentary-style commercial, I think I would go for the lighter and more affordable setup which would be the Sony. But if I want to go for the pinnacle of image quality and I have a good team around me supporting me, I definitely would go with the ARRI setup
War auch schon kurz davor die zu kaufen. Tolles modernes Glas auf jeden Fall! :))
Ja, ganz weit vorne in Sachen Bildqualität. Aber leider auch in Sachen Preis 🤣