#Duclos Lenses

[courseone]

fxphd - Pimp My Lenses - Taught by Mike Seymour Pimp My Lenses COURSE NUMBER: DOP217 DURATION: 6 hours 3 minutes Following on from our highly successful lighting DOP course, this course looks at lenses, how to measure them, use them, trick them and understand how to get the best out of them. Matt Duclos (of Duclos Lenses) and Mike Seymour cover a huge variety of lenses from a single pin hole camera, to new top of the line professional anamorphic lenses. Along the way they cover a huge array of lens info, camera tech, and look at what we jokingly refer to as "what it takes to pimp my lenses". Matt Duclos is one of the most experienced lens experts in the world, like his father before him, he modifies lenses, tests and develops new lenses at the Duclos Lens Workshop in LA. Much of this course will be shot in LA, and at the offices of Matt Duclos with photographic examples from around the world. With each lesson we will aim to not only explain the lens but show shooting examples and connect the real world lenses with their digital equivalents. Video Player Pimp My Lenses Watch our overview of the course course syllabus CLASS 1 Pin hole lenses to fundamental pro lens design - Starting with a room sized Camera Obscura and working to high end Professional lenses Mike and Matt cover what sort of lens is right for what style of work. The most simple lens is no lens, we start with a pin hole camera of an entire room, (one room, one pin and a lot of ducktape) and also explore DSLR naked - lens free photography (one DLSR, a lens cap and a laser). From this most basic camera setup right through to Cooke Prime lenses this first class will explain the fundamentals. Lens design (mechanical and optical) CLASS 2 Price bracketing: Picking the right tool for the job - There is no point pretending we all have an infinite budget, but how do you weigh up when it is worth spending the extra money and when a simplier solution will work just as well? We explore lens mechanical design, heritage, and do a comparison between brands and models. This is an invaluable look at what you are actually paying for - from someone who breaks open lenses and knows exactly what is inside. CLASS 3 Focus, Gearing and Follow focus - If there is one central point to all lenses it is the ability to focus them and achieve sharp results. We explore focus systems from automatic to manual. Most professional lenses for film are fully manual, we also explore gearing gearing and lenses follow focus systems, including new controllers that try and bridge the gap between the advantages of manual and the speed of automatic. CLASS 4 Measuring and testing a lens - How do you know if a lens is any good? Is there anything you should do to test a lens? How lenses are checked at Duclos Lenses. Mike explains how aperture works and where the nodal point of a lens is. CLASS 5 Zooms: Lens stabilizing, why it can fail. This is everything you ever wanted to know about zoom lenses. How they work, what is happening to f stop and depth of field with doublers, lens breathing, optical tricks and we show when and where stabilizing zoom lenses fail. Most professionals shoot with Prime lenses why is that? Can a zoom compete and if not where would you notice the difference? CLASS 6 Anamorphics both on a budget and when you have money to spare - One of the most exciting trends of the last 18 months has been the move to shooting anamorphicly. With Arri now supporting this across the new Alexa product line and the release of new Anamorphic lens, we explore how they work, how to shoot with them for creative effect and how to control the problems with Anamorphics that so many people actually seek such as flares, artifacts, glare and ghosting, shim and flare ups. We do this at the very high end with the newest lenses on the market and also on a budget. We'll show you how to make your own anamorphic lenses - at home! CLASS 7 Odd lenses... The big, the odd and the wonderful - There are so many specialist lenses and unusual solutions. Sometimes these odd lenses can produce a unique look that will elevate a music video or solve a specialist problem - and sometimes they are just plain fun to shoot with! We explore mirror Lens - Shift and tilt, Fish eye... and even 0.7 fstop lenses. CLASS 8 Using unusual lenses to create unusual looks in camera. CLASS 9 IR and filters: Polluting the image - While lenses are self contained they often times have filters. While some of the importance of filters has changed to post production image processing, filters remain a valuable tool. We explore IR class Neutral density, ND, filters including how IR pollution works. Finally we explore filters in front and behind the lens. CLASS 10 A summary of considerations when choosing lenses for production and personal use and what is currently available on the market.

[hmngrafik]

RED MX #127 11-16mm f2.8 Tests from Andrew Walker on Vimeo.

These are just some test shots I did with the Tokina 11-16mm f2.8 that Duclos Lenses modified for cinema use. They were kind enough to let me borrow it for a weekend and these are some of the shots I took. All shot with the RED One with the new MX sensor. Almost all of the shots are at 11mm.

[ohyeahpop]

Yasmeen Ghauri Iconic Fashion Moments

Ph1. Yves Saint-Laurent, Paris 1995, lensed by Daniel Simon / Ph2. Chanel, Paris 1995, lensed by Daniel Simon / Ph.3 Christian Lacroix, Paris 1992, lensed by Serge Arnal - Patrice Picot / Ph4. Chanel, Paris 1995, lensed by Alexis Duclos / Ph5. Thierry Mugler, Paris 1992, lensed by Daniel Simon / Ph6. Lacroix, Paris 1995 lensed by Thierry Orban / Ph7. Yves Saint-Laurent, Paris 1993, lensed by Serge Arnal - Patrice Picot / Ph8. Chantal Thomass, Paris 1995, lensed by Serge Arnal - Patrice Picot / Ph9. New York Fashion Week, 1994, lensed by PL Gould / Ph10. Christian Dior, Paris 1995, lensed by Alexis Duclos

[karingottschalk]

The sudden closure of Ryan Avery’s Veydra cinema prime lens design and manufacturing enterprise several years ago created a huge gap in the affordable ciné lens market and many self-funded independent moviemakers were dismayed if not devastated by the ending of the line. 

Meike Cinema Prime Set in 12mm, 16mm, 25mm, 35mm and 50mm T2.2 lenses with Micro Four Thirds mounts. Meike Cinema Primes in 65mm and 85mm focal lengths are coming later this year, 2020. Image courtesy of Duclos Lenses.

Luckily, HongKong Meike Digital Technology Co., Ltd has ramped up its lens division to the point where the company appears to be rivalling if not outstripping Mr Avery’s noble efforts.

Veydra, thwarted

Duclos Lenses came up with a Fujifilm X-Mount option for Veydra’s Mini Primes that can cover the APS-C format. Image courtesy of Veydra LLC.

I had been planning on obtaining my own set of Veydra Mini Prime lenses for native use in documentary production on Panasonic and Blackmagic Design cameras, spurred on by Duclos Lens’ creation of its interchangeable mount to enable using a subset of the Veydra lenses on Fujifilm X-mount Super 35mm/APS-C cameras.

Two things dampened my enthusiasm, however.

First was the sheer cost of a complete set of Veydra lenses in M43 mount along with the Duclos X-mount kits needed when adapting them for Fujifilm X-mount cameras.

Compare the cost of the Meike primes with the now discontinued Veydra primes by looking at the Duclos Lens product pages for proof of the radical price differences between lens lines.

Compare the Meike lenses’ USD400.00 average price and reported superior quality to the Veydra lenses’ USD1200.00 average price and the conclusion is clear – consider investing in a set of Meike cinema primes.

Meike 4 Lens Cinema Prime Set 12mm, 16mm, 25mm, 35mm T2.2 for Micro4/3 MFT at Revar Cine website. Image courtesy of Revar Cine.

The current price of the four-lens set for Micro Four Thirds as above at Ryan Avery’s Revar Cine website is USD1595.00, about one Meike lens above the cost of just one Veydra lens.

At time of writing, seven focal lengths are available as Meike Cinema Primes in M43 mount :

12mm = 24mm in the 35mm sensor format

16mm = 32mm

25mm = 50mm

35mm = 70mm

50mm = 100mm

65mm = 130mm

85mm = 170mm

A subset of the Meike Cinema Primes is available for Super 35/APS-C cameras in Sony E-mount and Fujifilm X-mount:

25mm = 37.5mm in the APS-C/Super35 sensor format

35mm = 52.5mm

50mm = 75mm

65mm = 97.5mm

85mm = 127.5mm

Meike 65mm and 85mm T2.2 Cinema Primes, listed by Meike as coming later in 2020. Image courtesy of Meike.

Whether for  M43 or Super 35 cameras, the Meike Cinema Primes provide a well-spaced and feature-matched set of focal lengths that should meet most cinematographers’ daily needs.

The Voigtlaender Nokton f/0.95 Micro Four Thirds lens set, minus the matching and more recently released Voigtlaender Nokton 60mm f/0.95 M43 lens. Left to right: 10.5mm, 17.5mm, 25mm and 42.5mm focal lengths. Duclos Lenses offers ciné-modded versions of these stills lenses, making them more suitable for video production. Meike needs to offer a wider lens than its current 12mm.

I would very much like to see Meike release a super wide angle in the 10mm to 10.5mm range, and an 18mm moderate wide angle lens with coverage enough for M43 and Super 35.

I have written before about the need for a professional-quality 18mm lens for stills photography with Fujifilm X-mount cameras, as an alternative to Fujifilm’s quirky and semi-pancake Fujinon XF 18mm f/2.0 R.

Meike’s current cinema prime lens offering for Super 35 goes no wider than 25mm and a complete lens set needs, nay, demands, a medium wide and an ultra wide lens in the equivalent of 28mm and 21mm.

That is, an 18mm and a 14mm.

Veydra 50mm and 25mm Mini Prime Cinema manual focus lenses with imperial or metric markings, made by Veydra LLC.

Ryan Avery had been pursuing an 8.5mm ultra wide-angle Veydra M43 lens design but eventually ruled it out due to cost and size considerations.

And then disaster struck with a break-in at the company’s lens storage facility, followed by a court case with Mr Avery’s Veydra business partner.

Matthew Duclos of Duclos Lenses recently shared all he knows about Veydra’s demise at his personal blog.

Meike Cinema Lenses with Ryan Avery

Meanwhile, Ryan Avery is retailing Meike Cinema Primes at his Revar Cine website.

“Meike Cinema Prime lenses are designed specifically for mirrorless cameras. Available for MFT, Sony E, and Fuji X Mount cameras from Micro4/3 to APS-C size sensors. Compact, lightweight and perfect for a true cinematography experience on most mirrorless cameras.”

Meike Cinema Primes on Fujifilm and Panasonic hybrid and Blackmagic Design cinema cameras

Meike Cinema Prime 12mm T2.2 lens on Blackmagic Design’s Blackmagic Pocket Cinema Camera 4K aka BMPCC4K with Micro Four Thirds mount. Image courtesy of Meike.

Meike Cinema Prime 12mm T2.2 mounted on Panasonic DC-GH5 Micro Four Thirds camera. Image courtesy of Meike.

Meike Cinema Prime lenses with Fujifilm X-mount in 25mm, 35mm, 50mm and 65mm focal lengths. Image courtesy of meike_global instagram account.

Meike’s cinema lens lineup for Micro Four Thirds, Sony E-mount and Fujifilm X-mount are welcome indeed given their affordability and the absence of OEM cinema prime lenses by brands such as Fujifilm, Olympus, Panasonic and Sony.

After the end of Veydra, I was contemplating the direction to take with video-capable prime lenses for Super 35/APS-C and Super 16/M43.

I grew up relying on prime lenses for filmmaking and still feel most comfortable with cinema primes for video production over the reportedly excellent zoom lenses in several lens mounts made by Fujifilm in its Fujinon MK pairing for X-mount, E-mount and M43.

With Olympus’ recent announcement that it had sold its camera and lens division, and the possible outcome of its excellent M.Zuiko Pro zoom and prime lenses going the way of Veydra, I have been wondering if my beloved Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro should plan on welcoming some M.Zuiko Pro siblings if there was a sudden sell-off of the lineup.

But the M.Zuiko Pro lineup does not answer the need for X-mount cinema lenses whereas Meike appears to be on the right track not only with its current Meike Cinema Prime offerings and possible additional focal lengths but also its coming so-called “full frame” aka 35mm sensor format cinema prime lenses.

More power to Meike’s arm, though I do hope the company will see fit to loaning cinema primes to a range of well-qualified stills photography and video production reviewers so we can get the full measure of these exciting new lenses.

Links

AliExpress – Meike

Amazon.com – Meike

Duclos Lens – Meike

Duclos Lens – Veydra

Duclos Lens – Voigtlander

Facebook – Meike Global

B&H – Meike

Hot Rod cameras – Meike

Instagram – meike_global

Lensrentals – Veydra Cine Mini Prime MTF Optical Bench Tests

Meike Global – Cinema Lenses

Meike Global – Meike Cine lens series (12mm+16mm+25mm+35mm+50mm) – video

Meike Global – Meike Cine Lenses with Veydra Co Founder Ryan Avery – video

Meike Online Store

News Shooter – Meike prime lenses for Micro4/3, Sony E, Fuji X mirrorless mount cameras

Olympus Cameras and Lenses – M. Zuiko Pro

Olympus Global – Regarding Olympus Imaging Business Transfer – press release

Olympus Global – Signing of Memorandum of Understanding for Divestiture of Imaging Business – press release, PDF

Revar Cine – Meike Mirrorless Cinema Prime Lenses

The Cine Lens – RIP VEYDRA: 2014-2019 – excellent and insightful blog post by Matthew Duclos of Duclos Lens.

Veydra

Voosestore.com – Meike 16mm VS Veydra 16mm – great MFT Cinema prime lenses for the Blackmagic Pocket 4K – video

YouTube – Meike Global

Meike Cinema Prime Lenses for Micro Four Thirds & Super 35 Fill the Chasm Left by the Demise of Veydra Mini Primes The sudden closure of Ryan Avery's Veydra cinema prime lens design and manufacturing enterprise several years ago 

[cine-gear]

Matthew Duclos On Evaluating Used Cine Lenses | Sony Cine

[movieprodtips]

Northwest Camera Co & Duclos Lenses V35 Project Updates - Newsshooter

[artwalktv]

Blue ribbon bunnies, galloping porkers and ginormous pumpkins. Come one, come all through this kaleidoscopic journey of the people and places that make up this most beloved but quickly disappearing American tradition. Director / Cinematographer - Andrew Wonder - @andrewwonder Producer - Colleen Dodge - @coll.lleen Editor - Ricky D’Ambrose Research - Ben Alternberg - @actionberg Research - Patrick Newman - @pnewman77 Colorist - Vladimir Kucherov - @theonlyvlad Re-Recording Mixer - Max Phillips - @fakemaxwell Associate Producer - Calvin Herbst - @calvin_herbst Lens Restoration - Duclos Lenses - @ducloslenses 2021 PREMIERE DIRECTORS NOTES https://bit.ly/3jGoA96

[iliketransitbuses]

👌🏼👌🏼👌🏼 Sony A7S with Nikon/Duclos Lenses AIS 24mm onboard a DJI Ronin.

[satoshi-mochida]

Summon Night 6: Lost Borders will launch physically and digitally for PlayStation 4 and PS Vita in North America on May 23, publisher Gaijinworks confirmed to Gematsu. The game is aiming for a simultaneous digital-only release in South America and Europe, but notes that if it doesn’t appear on the PlayStation Store on May 23, then it will appear “very soon after.”

The PlayStation 4 physical version will ship in Raj, Amu, and Ist Editions. Each edition has a different character artwork on the disc and on the back of the box. The PS Vita physical version will not ship in multiple editions.

Here’s an overview of the game:

About

Summon Night 6: Lost Borders weaves an emotional tale of friendship and discovery that begins in the sparsely populated “cocoon world” of Fillujah, where the three main characters (Raj, Amu and Ist) live in virtual isolation. Each has a single companion, a flying sidekick with an amazing special power, and they are all surprised when dozens of strangers begin to suddenly appear-literally falling out of the clear, blue sky.

Lost Borders can be played and enjoyed without any knowledge of the previous games in the series, but fans will recognize that the mysterious strangers are actually returning characters from all of the mainline Summon Night games. Originally released in Japan as a celebration of the award-winning series’ 15th anniversary, Summon Night 6: Lost Borders offers gorgeous widescreen graphics presented in high definition, a first for the series.

The fully 3-D battle system allows Chain Attacks that happen automatically when an enemy is surrounded by two or more allies; in these situations, each ally can hit the enemy without risk of counterattack. In addition to the Summons that are a hallmark of the series, two allies can team up for a breathtaking “Summon Burst” attack that invokes a devastating magical strike from one of many giant fantastical creatures. Combat is only one part of the Summon Night 6 experience.

The series is well known for its “night conversations”-one-on-one encounters where various characters confide in one another, leading to a web of elaborate, emotional storytelling with many different branching paths. Lost Borders also includes several charming mini-games: One has you fishing for different types of aquatic creatures, while another involves cooking power-up meals using the bounty you’ve caught with your fishing pole.

Key Features

A gorgeous strategy role-playing game

Cross-save support between PlayStation 4 and PS Vita versions

Three difficulty levels, from Casual to Veteran

A huge cast of 50-plus characters

Scenario and Free Battle modes

View a new set of screenshots at the gallery.

Update 03/08/17 at 10:50 a.m.: Gaijinworks has announced a few additional details.

A fourth packaging variant is being produced exclusively for the Wonderful Edition box set that was only available by pre-orders placed prior to December 2016.

The initial print run of Summon Night 6 physical copies will include a special voucher that can be mailed in (along with a $3.95 shipping / handling fee) to obtian a free copie of the game’s original soundtrack on CD, which is normally $29.99. The CD includes all of the music from the game and comes with a case and full-color disc art, both of which are different from the soundtrack CD included with the Wonderful Edition box set.

English-language studio recording sessions for the game are complete. Its over 18 hours of dialogue total 20,000 individual lines of dialogue and over 60,000 lines of text. Here is the list of English voice actors:

Micah Duclos (newcomer) as Raj

Kathy Emma (a veteran of several Working Designs games who also sings the English version of the game’s theme song) as Amu

John Truitt (best known as the voice of Ghaleon in the LUNAR series) as Ist

Patrick Seitz (Fire Emblem, Inside Out, One Piece) as Melgitos

Bryce Papenbrook (Attack on Titan, Sword Art Online) as Kanon

Mela Lee (Love Live!, Fate/stay night) as Kunon

Xander Mobus (Super Smash Bros., Persona 5) as Ishlar

Rhonda Gibson (LUNAR: The Silver Star, Exile) as Amer

Kira Buckland (Skullgirls, Phoenix Wright Ace Attorney: Spirit of Justice) as Milreaf

Grant George (Naruto: Shippûden, Bleach) as Rexx

Melissa Gulden (Popful Mail, LUNAR: Silver Star Story Complete) as Aty

Erica Mendez (Kill la Kill, Hunter x Hunter) as Toris

Kyle McCarley (Mob Psycho 100, Durarara!!x2) as Kir / Seilong

Zach Aguilar (One Punch Man, Mobile Suit Gundam: Iron-Blooded Orphans) as Ray

Chad Letts (LUNAR 2: Eternal Blue Complete, Vanguard Bandits) as Banossa

Kaiji Tang (Fire Emblem: Awakening, Pokémon Generations) as Atosh

Lucien Dodge (Dust: An Elysian Tail, Sailor Moon Crystal) as Ioth

Erik Scott Kimerer (Accel World, The Seven Deadly Sins) as Folth

Christine Marie Cabanos (Puella Magi Madoka Magica, Squid Girl) as Natsumi

Blake Dorsey (Elemental Gearbolt, Cosmic Fantasy 2) as Luvaid

Griffin Burns (Bear in Underwear, Mobile Suit Gundam: Iron-Blooded Orphans) as Touya

Brianna Knickerbocker (Fire Emblem: Fates, Durarara!!x2) as Enysha

Jackie Powers (LUNAR: The Silver Star, Growlanser II/III) as Fair

Xanthe Huynh (K-On!, Yuki Yuna Is a Hero) as Aya

Tammy Jones (Cosmic Fantasy 2, Vay) as Lisher

Craig Padilla (Growlanser Generations) as Bulrell

Ned Schuft (LUNAR 2, Growlanser Generations) as Nesty

John Haas (LUNAR: Silver Star Story Complete) as Kyle

Forrest Spade (Growlanser Generations) as Magna

Breanna Lensing as Arca

Stacia Jacobs as Azlier

Taylor Grace as Claret

Austin Lee Matthews as Erst

Ben Wogan as Gian

Bobby Thong as Hayato

Courtney Blanc as Luchell

Vesper Lynd as Radylia

Mickenzie Fisher as Ruelly

Blake Fisher as Scarrel

Sophia Komarek as Sonolar

[mohanohi]

DCS Focus On Cine Lenses From The Buyer's POV from Digital Cinema Society on Vimeo.

Due to the pandemic, the Digital Cinema Society was not able to hold our popular lens event at Cine Gear Expo this year. Instead, we gathered some of the top lens manufacturers and industry experts online to explore the current market for cine lenses from the buyer's POV. James Mathers was joined as Co-Moderator by lens expert Matthew Duclos, and the event was dedicated this year to the memory of a previous co-moderator, Denny Clairmont, who we recently lost. Presenters, (in alphabetical order of company name) include:

- Angénieux/Band Pro -- Jean-Marc Bouchut - ARRI -- Art Adams - Canon -- Michael Bravin - Cooke Optics -- Les Zellan - Fujinon -- Tom Fletcher - Infinity Photo-Optical -- Jay Margolis - P+S Technik -- Gerhard Baier - Sigma -- Brian Linhoff - Tokina -- Ryan Avery - Zeiss -- Snehal Patel

Note: the following links were mentioned in the program for viewer followup:

-Film & Digital Times article on Canon lenses: http://tinyurl.com/y4eff8cc -Regularly scheduled Canon cinematography discussions: http://tinyurl.com/yxddqofl -Cooke Optics #ShotOnCooke user samples: ShotOnCooke.com -Cooke Optics brand agnostic cinematography discussions: CookeOptics.TV -Film & Digital Times articles on Cooke Optics: fdtimes.com/promo and use the password: cookeoptics

[lesterplatt]

Brown Brothers - 'Brown' // TVC from Aaron McLisky ACS on Vimeo.

Dir: Dylan Duclos Prod: Collider Producer: Annie Schutt Camera: Alexa Mini Lenses: Canon Rehoused FDs

[karingottschalk]

Veydra LLC, maker of the Veydra Mini Prime manual-focus cinema lenses for Micro Four Thirds, Sony E-Mount and Fujifilm X-Mount cameras, is no more. 

Veydra’s Ryan Avery recently announced the company’s demise on its Facebook page, bringing to an abrupt end the story of this doughty little lens maker, throwing into confusion affordable native geared cinema prime lens choices for independent moviemakers. 

With its mission statement being “Veydra lenses are designed to be premium quality cinema lenses at the absolute minimum retail price”, Veydra gave thousands the opportunity of using cinema lenses instead of the more common stills-oriented  non-cinema zoom and prime lenses we have come to rely upon despite their shortcomings for video use. 

Veydra 50mm and 25mm Mini Prime Cinema manual focus lenses with imperial or metric markings, made by Veydra LLC.

Veydra LLC has gone out of business due to the conclusion of ongoing litigation between the founders of the company.

I offer special thanks to everyone involved in the success of Veydra; first and foremost all Veydra Kickstarter backers and customers. Specific thanks to those who made it possible from the start; Phil Holland, Illya Friedman, Matthew Duclos, Joshua Brown, Alex Jacobs, and all the supporters too numerous to mention here.

It’s been a wonderful journey and I thank you all for your support and kindness.

—Ryan Avery Co-Founder

Social media rumours have it that there was some conflict at Veydra about one partner licensing his lens designs out to another company, Meike, but another factor leading to Veydra’s end may have been the theft of US$200,000 worth of lenses from the company’s warehouse in 2017, after which the company seemed to drop off the radar.

There are cinema prime lens alternatives, however, with SLR Magic releasing an intriguing set of lenses for Super 16 and Super 35  digital cameras in M43, E-Mount and X-Mount.

Another option is Fujifilm’s impressive MKX cinema zoom lenses available in two focal length ranges and now in the same there mounts.

Should Fujifilm continue delivering on its promise to radically improve video functionality on its XF APS-C Super 35 cameras,  SLR Magic’s seven lens collection appears attractive with the lenses’ 18mm, 22.5mm, 27mm, 37.5mm, 52.5mm and 112.5mm equivalence in the 35mm sensor format.

So far Meike has only released three cinema prime lenses and not in all three mounts, in 12mm, 16mm and 25mm focal lengths, so time will tell whether the company is fully committed to supplying a full set of primes in three mounts.

A prime lens alternative? SLR Magic MicroPrime Cinema Lenses for Micro Four Thirds, Fujifilm X-Mount and Sony E-Mount.

SLR Magic MicroPrime Cinema 12mm T2.8 Fujifilm X-Mount.

SLR Magic MicroPrime Cinema 15mm T3.5 Fujifilm X-Mount.

SLR Magic MicroPrime Cinema 18mm T2.8 Fujifilm X-Mount.

SLR Magic MicroPrime Cinema 25mm T1.5 Fujifilm X-Mount.

SLR Magic MicroPrime Cinema 35mm T1.3 Fujifilm X-Mount.

SLR Magic MicroPrime Cinema 50mm T1.2 Fujifilm X-Mount.

SLR Magic MicroPrime Cinema 75mm T1.5 Fujifilm X-Mount.

Andrew Chan of SLR Magic with one of the company’s MicroPrime cinema lenses for X-mount and M43-mount cameras variously made by Blackmagic Design, Fujifilm, Olympus, Panasonic and others. SLR Magic also makes an excellent 1.3 to 10 stop variable neutral density filter solution perfectly suited to the MicroPrimes with their 82mm filter diameter as well as adapted to smaller filter diameter lenses via step-up rings.

A cinema zoom alternative? Fujifilm Cinema Zoom Lenses for Micro Four Thirds, Fujifilm X-Mount and Sony E-Mount.

Fujifilm X-T3 with Fujinon MKX18-55mm T2.9 cinema zoom lens, rigged for moviemaking.

Fujifilm X-T3 with Fujifilm VG-XT3 Vertical Battery Grip and Fujinon MKX 18-55mm T2.9 cinema zoom lens.

Fujifilm XH1 with Fujinon MKX 50-135mm T2.9 cinema zoom lens

Fujifilm XH1 with Fujinon MKX 18-55mm T2.9 cinema zoom lens

Fujifilm Fujinon MKX 50-135mm T2.9 cinema zoom lens.

Fujifilm Fujinon MKX 18-55mm T2.9 cinema zoom lens.

Fujifilm XH1 with Fujinon MKX 18-55mm T2.9 cinema zoom lens

Fujifilm XH1 with Fujinon MKX 50-135mm T2.9 cinema zoom lens

Links

4/3 Rumors – Veydra LLC has gone out of business

Duclos Lenses – Veydra Primes

dvinfo.net – New Glass: Veydra Cine Primes for Micro 4/3

Facebook – @veydraoptics

Lens Rentals – Veydra Cine Mini Prime MTF Optical Bench Tests

Meike – Cine Lens

PetaPixel – Over $200,000 in Cinema Lenses Were Stolen from Veydra Optics on Sunday

Veydra – website

Help support ‘Untitled’

Clicking on the links and purchasing through them for our affiliate accounts at Adorama, Alien Skin, B&H Photo Video, Skylum, SmallRig or Think Tank Photo helps us continue our work for ‘Unititled’.

Veydra LLC, Maker of Affordable Manual Focus Mini Prime Cinema Lenses, Is Dead. What Now for Lenses in Their Class? Veydra LLC, maker of the Veydra Mini Prime manual-focus cinema lenses for Micro Four Thirds, Sony E-Mount and Fujifilm X-Mount cameras, is no more. 

[cine-gear]

What Lens Should I Buy? Evaluating New Cine Lenses with Matthew Duclos - Part 1 | Sony Cine

[updatedc-blog]

New Post has been published on https://www.updatedc.com/2018/12/07/blackmagic-design-pocket-cinema-camera-4k-review/

Blackmagic Design Pocket Cinema Camera 4K Review

The Blackmagic Design Pocket Cinema Camera 4K took NAB 2018 by storm. It really was the talk of the show and everyone prior to it was hoping for an update and they got it. The camera is now shipping but it’s not available in large quantities yet. Demand is high and production doesn’t look to be matching it. While this seems to be an issue with Blackmagic I thought they solved this with the release of the URSA Mini Pro but the Pocket 4K seems to be business as usual when it comes to delivery.

Blackmagic Design sent us the Pocket Cinema Camera 4K for a limited time to do a review. The only stipulation is that we don’t do a head to head or compare the camera with other cameras on the market. Blackmagic Design is a sponsor of Newsshooter.com. this review is independent and is not being reviewed or approved by Blackmagic Design in any way prior to release.

Okay! Now that we have that out of the way lets get this review started!

Everything that’s Included

Blackmagic Pocket Cinema Camera 4K

Lens turret dust cap.

30W power supply with locking connector and international adapters.

LP‑E6 Battery

SD card with software and manual.

Welcome card.

DaVinci Resolve Studio with an activation key.

The Pocket Cinema Camera 4K is no “pocket” camera

While Blackmagic Design is calling this the new Pocket 4K I feel it’s more like a new version of the original Blackmagic Cinema Camera. The Pocket 4K is closer in size as well as not having an EVF and only a big screen.

This was the original disruptor camera from Blackmagic and the Pocket 4K is poised to do the same.

I first got my hands on the Pocket Cinema Camera 4K at the BMD NAB press conference. As many have said before it’s no “pocket camera”. It’s a totally new camera and to be honest it should have had a different name with such a radically different design. This isn’t a hyper-portable camera but as a cinema camera, it’s about as compact as I think it can be with the capability of shooting RAW and ProRes HQ in 4K DCI 60P without catching on fire. Heat dispersion is an issue that plagues all cameras and BMD clearly didn’t want overheating issues with the Pocket Cinema Camera 4K

The camera is much larger than the original pocket by huge margins. In fact, it’s larger than most DSLR cameras. What makes it large is how wide it is but don’t let that fool you it’s actually very light in weight and feels chunky in the hand.

The grip on the side is big. I have average sized hands and can hold it fine but it does feel larger than a mirrorless or DSLR camera. You would think with such a large grip the camera could have a larger higher capacity battery but it uses the Canon LP-E6. More on the battery coming up.

Overall the body feels kind of plasticky. I suppose this has a lot to do with the weight and the new carbon fiber composite material the body is made out of, however, it just feels sort of cheap. One thing I noticed is the battery compartment door seems a little loose. The door for the media compartment snaps open and closes firmly.

The covers for the inputs on the side are those pliable plastic type that pop off and are held on with a tab. I’m not a fan of these but we see them on a lot of cameras. On my C300 MKII, I pulled them off as they started driving me crazy. If this was my camera I would do the same.

I like the shortcuts on the body a lot. You have three on top that can be programmed and three that are set for ISO, Shutter and White Balance. A stills frame can be taken with the stills button and the iris wheel has a push function for zoom in focus assist. As for the stills? I wasn’t impressed.

On the back are an Iris, Focus, HFR, Zoom, Menu, and Playback button. The coolest of them all is the ability to push the HFR button and go into 60 frames per second. That is really convenient and fast without having to enter the menu to change frame rates. With the camera set to shutter angle, it will change as well when you enter 60p mode.

MFT Sensor

The original Pocket Camera had a smaller Super 16mm Sized Image Sensor while the new Pocket 4K jumps up to Micro Four Thirds 18.96 x 10.00 mm sensor with Dual Native ISO. A first in the Blackmagic camera lineup to have. Will we see this in an updated URSA Mini Pro? The sensor does yield some nice images. More on that later.

Micro Four Thirds mount and Lenses

The Micro Four Thirds mount is very adaptable. Practically any lens can be used with the proper adapter. I have a few Canon EF lenses I use on Sony E mount cameras as well as the URSA Mini Pro 4.6K. The Canon 24-105 F4,  Canon 70-200 F4 and a Duclos modded Tokina 11-16mm.

I also have the very nice Lumix 12-35mm. I keep it around just in case I need it and I sure did with the Pocket 4K. The Lumix 12-35 works perfectly with the camera. Autofocus works pretty well. No Dual Pixel AF here and it does hunt a little but it’s better than not having any AF and could be improved over time. I wish I had the 35-100mm lens to pair with it.

To shoot with my Canon EF lenses I have a Metabones EF Lens to Micro Four Thirds T Speed Booster ULTRA 0.71x. With the latest V3.0 firmware the Pocket 4K autofocus didn’t work at all. I tried both the 24-105 and 70-200. Image Stabilization works as does f-stop changes and it also shows the Speed Boost increase in the aperture on the LCD screen. I’m sure Metabones will update the firmware on the Speed Booster to get AF working as this will be a very popular setup. The Speed Booster XL would be a great option for full frame lenses. I like the ULTRA since I can also use APS-C lenses like the Sigma 18-35 and 50-100.

Inputs

The inputs and outputs are all on left side of the camera.

From top to bottom you have:

3.5mm Mic Inputs

Headphone

Full-Size HDMI

12v Power input

USB-C for SSD drive

Mini XLR with Phantom Power

On the top and bottom are airvents to keep the camera cool. There is a fan inside but I found noise not to be an issue.

Menu System

With so many cameras having a messy hard to use menu system I find it refreshing that the Pocket 4K inherited the simple URSA Mini Pro menu. The camera is so easy to get set up plus being a video camera, not a hybrid no photography settings needed. The menu navigates with the touchscreen and the setting options are nice and large making them easy to see and tap to select.

Where is the Viewfinder?

Being true to the original Pocket Cinema Camera an EVF isn’t present on it’s 4K big brother. For the first couple of hours using the Pocket Cinema Camera 4K I instinctively wanted to lift it to my eye. It’s a very strange feeling knowing you can’t because the camera doesn’t have an EVF and this does cause some problems. It does have a nice full HD 5″ touchscreen. The image looks sharp and color representation also looks to be accurate but in bright sun the LCD screen is useless. It’s not a daylight monitor. In the shade, it performs fine but I struggled with it when the sun was behind me. The screen has good off-axis viewing angle which is nice since you can’t rotate or tilt the screen either. With Lumix lenses, the touch focus is pretty good. I wouldn’t say it’s a usable rack focus but it does lock in fairly quickly and nails it most of the time.

A cage and a Zacuto Gratical HD will be a lifesaver for the Pocket 4K. Unfortunately, I don’t have a cage for the loaner camera to attach my Gratical HD EVF to. I tried, but with limited hardware, it wasn’t doable plus I wanted to get the experience of using the camera as is.

Codecs, Resolutions and Frame Rates

Here is where the Pocket Cinema Camera 4K shines. Having ProRes as the main codec makes editing a breeze and the codec is very solid. Yes, it will take up more space on media cards but I’ll take that over computer intensive formats that require transcoding and rendering. Editing Long Gop and ALL-I codecs natively on a better than basic NLE can be a real struggle. We end up converting the footage or editing in proxy and all those options take up even more hard drive space and time.

Codecs

CinemaDNG RAW, CinemaDNG RAW

3:1, CinemaDNG RAW 4:1, ProRes 422

HQ QuickTime, ProRes 422

QuickTime, ProRes 422 LT QuickTime,

ProRes 422 Proxy QuickTime.

With the release of the Pocket Cinema Camera 4K, Blackmagic RAW isn’t included in the firmware but they have announced it will be available at a later date for no extra charge. The only issues are as of now DaVinci Resolve is the only NLE that can utilize the new RAW format. Hopefully others like Avid, FCPX and Premiere Pro to name a few of the popular NLE’s will support it but I think it’s going to take some time. For now, if you like RAW, you have CinemaDNG.

Resolutions and Frame Rates

HD Video Standards 1080p23.98, 1080p24, 1080p25, 1080p29.97, 1080p30, 1080p50, 1080p59.94, 1080p60.

Ultra HD Video Standards 2160p23.98, 2160p24, 2160p25, 2160p29.97, 2160p30, 2160p50, 2160p59.94, 2160p60.

4K DCI Standards 4KDCIp23.98, 4KDCIp24, 4KDCIp25, 4KDCIp29.97, 4KDCIp30, 4KDCIp50, 4KDCIp59.94, 4KDCIp60

Frame Rates You won’t get all the frame rates in all the resolutions however you do get a very good selection for a camera in its price range and overall size and that is impressive. To shoot at 120 fps it is in HD windowed mode and it looks really good.

I shot this video at 120 FPS HD Windowed mode at 4000 ISO using ProRes 422. I really think ProRes acquisition for HFR is such a big deal as many cameras limit the Mb/s so low the image just falls apart.

In post, I only cleaned it up with Red Giant Denoiser III. Yes, it’s noisy but the image has nice detail with very low in-camera noise reduction. Other cameras I’ve used get aggressive with the noise reduction at higher iso values. This smooths and softens the image and it doesn’t look very good. I feel the Pocket 4K detail is really good at 120 FPS.

Powering the Pocket

I have several of the Canon OEM batteries and an assortment of 3rd party versions. Blackmagic Design states 60 minutes of runtime. I haven’t been able to get this performance with the included battery or an OEM Canon battery recording to CFast media. Usable runtime with the Pocket 4K is closer to 30-40 minutes. You need to power the camera down when not recording to save battery.

The Pocket Cinema Camera 4K uses the Canon LP-E6 type battery. It comes with one. No charger is included however a 2-pin locking AC power cable is included and charges the battery inside the Pocket Cinema Camera 4K so essentially the camera is the charger. The camera can be powered with an external battery without using a regulated dummy LP-E6 since the input can take 12 to 20 volts or a D-tap to 2-pin cable.

This is a first. I have one LP-E6 battery that would get stuck inside the camera. I have heard from other users that experienced this as well. I wasn’t sure how to get it out but decided to try a strip of gaffers tape and press it on to cover the entire end of the battery. Hold the release button and pull it out. After a few attempts, it worked and the battery was removed.

No damage was done and I can’t figure out what is causing it. I think it’s the two slots that are used to charge the battery in the camera that is holding it in. Maybe the spring isn’t strong enough to push it out? I’m not really sure. The battery that is supplied with the Pocket 4K doesn’t have issues with getting stuck inside the body however it doesn’t work with the battery status on the camera. The fuel gauge shows “0”.  No issues with OEM Canon LP-E6N and LP-E6 batteries.

Blackmagic Design 25.5″ DC Cable Pack for Blackmagic Pocket Cinema Camera

Blackmagic Design has a DC cable pack that includes a D-tap to 2-pin, 2.5mm barrel to 2-pin and an extra 2-pin non-terminated cable for creating your own custom cable. All cables are 650mm long and retail for $55.00 US. With the proper 2-pin locking connector cable to D-Tap and a V-lock or Gold Mount battery, you’re good to go for several hours.

It shuts off without warning

A major flaw with the Pocket 4K is it will shut off while recording even when the battery indicator is showing 30% or 40%. The camera isn’t correctly estimating the actual amount of power left. When I put a full battery in the indicator will quickly show the battery depleting even before I start recording. This needs to be addressed in a firmware update stat! It might not be a camera software issue but more of a camera power consumption issue.

While I have had the camera shut down while recording several times the clips didn’t become corrupt or was deleted. This is some good news but like I said. It’s scary and I can’t imagine that clips eventually wouldn’t get corrupted with such abrupt shutdowns. Blackmagic Design said they will look into this issue further but stated the clips close every 10 frames, therefore, you could lose approximately 10 frames off the end of a clip.

I tested several batteries and I’m finding a big discrepancy with them and when the camera will shut down. With Canon OEM LP-E6N I was getting much better performance. The camera would drop to around 9% and then shut off. For now, I highly recommend the Canon OEM batteries and change them around 15% warning. I still got around 40-45 minutes with Canon OEM.

Battery Solutions

I recently reviewed the Core SWX PowerBase Edge and it is a really great way to power the camera for a long time. While it looks bulky it doesn’t feel too bad to hold since the camera itself is very light. On a tripod, it’s a no-brainer and very simple to use plus it can power your accessories as well.

The Pocket Cinema Camera 4K for serious use will probably end up in a cage or rig. If you need an EVF, and I think you will for certain situations like shooting outside in the sun or just don’t want to swap out batteries every 30 minutes and opt to record on an SSD drive, which is a pretty cool option to have. Some type of larger rig is going to be needed.

With a Canon OEM LP-E6 I got 41 minutes of continuous recording then the camera shut off without warning. When I put the battery back on the charger it showed 20% was left. The clip wasn’t deleted or corrupted.

Built-in audio and inputs

Analog Audio Inputs

Onboard microphones on cameras are generally not that great. I would say the Pocket 4K is better than most but none are as good as adding an external mic like a RØDE VideoMic Pro. It’s fine for scratch audio or simple ambient sound.

One thing that could be an issue is the microphone on the right side is placed right by the grip and if you have long fingers you could tap it and make unwanted noise. Now you wouldn’t really need to worry since you are of course going to use proper audio right? 🙂

One feature that is usually lacking in hybrid cameras is audio inputs. That 3.5mm jack can go only so far. I tested the input with a RØDE Lavalier microphone. To get a proper level I had to set the level at maximum. This generally isn’t a good thing as it could also bring up the noise floor pushing the preamps so high.

I had an issue with the 3.5mm input. After several days of shooting and using the 3.5mm input to record my audio, the input broke. I pushed the connector in and something came loose. The connection is now intermittent with the input and the connection feels like it’s not holding the microphones 3.5 tip very well. Not good.

The 3.5mm Stereo Input can also be used for Timecode input.

The Pocket Cinema Camera 4K has one mini-XLR analog switchable input that also supplies phantom power and supports line level (up to +14dBu). This is very cool for a camera in its price range. You probably won’t see this feature on a hybrid anytime soon.

These cables are a little hard to find and are more expensive than the average XLR variety. I searched around and ended up buying a Blackmagic Design Blackmagic Design Mini XLR Cable for Video Assist 4K. It retails for $29.00 US and includes two 19.5″ cables.

On my last day with the Pocket Cinema Camera 4K I used it for an easy studio shoot. All the audio was captured with a Sanken COS-11D into the mini XLR. I have to say it’s nice to just plug in a microphone into such a small camera that has phantom power. I used the Lumix 12-35 and focused with the touchscreen, setting exposure with zebra stripes and false color. I do wish the zebras would go lower than 75% as I like to use 60%-65% value for skin tone. The image is nice and detailed and the audio recorded nice and clean. I’m a fan of recording audio into the camera and I know it’s not the best quality you can get but it works for me on these type of shoots. It’s always good to have options and the mini XLR input is a good one.

Lots of recording media options

The Pocket 4K has three different media options to record too.

1 x CFast slot

1 x SD UHS-II card slot.

USB-C input for SSD Drive

That’s a lot of options for a camera in this price range plus it can record RAW Lossless, 3:1 and 4:1. Blackmagic RAW is also coming and that will make the Pocket 4K a beast of a camera when it comes to onboard codecs and RAW capabilities. Did I mention I love the ProRes option? 🙂

For a full list of compatible media check out this post. I always recommend getting the best quality you can afford. I know media can be expensive but verified compatible models will ensure the safest and best results.

Compatible USB‐C SSD Drives

Don’t stray here. I tried a noncompatible drive and it didn’t work. Shocking right? I then tested the Samsung T5 1TB and yes it does work and records without issue as well as the new Anglebird SSD2GO PKT 512GB and 2TB. While I didn’t test all the resolutions and codecs I found All the ProRes options worked without issue.

Shooting direct to an SSD drive is really great. Seeing that huge storage available kind of makes me giddy. I have a little setup that might not look so fancy but it works a treat! With no cage, I had to be creative. I added a cold shoe to the top mount and the cold shoe extender. This really worked well plus it didn’t cost me anything since I already had it. Win-win!

Below is the recommended media for recording

Dual Native ISO

Unlike the GH5s the Dual Native ISO doesn’t need to be changed to enter it. The Dual Native ISO is 400 and 3200. This can be a little confusing or maybe it’s just me. Here is how it’s explained by Blackmagic Design.

I can highly recommend using 1250 ISO over 1000. The image curve does change with the blacks and highlights being more stretched out for a less flat look but it’s much cleaner. MFT sensors have been problematic when it comes to noise at even modest ISO levels and the GH5s and now the Pocket Cinema Camera 4K are showing how far engineering has come.

At 32oo the noise is very similar to 500 ISO but is there any noise reduction going on as well?  Noise reduction will smooth out the detail of an image. It’s not very pleasing. Especially on the skin. It makes things look like plastic. From the looks of the test footage, I’m not seeing any aggressive in-camera noise reduction in the image. That’s impressive. This makes cleaning it up with noise reduction software even better and it does clean up fairly easily.

Usability

Here is where the Pocket Cinema Camera 4K has issues. Usability is different for everyone. I personally do not like to fight a camera while using it. I just want to be able to get the camera out of my way and create with it. This isn’t the case with the Pocket 4K. As I mentioned earlier the camera eats through batteries and shuts down abruptly when the battery is starting to die. That alone is a big problem. I always feel like it’s going to shut down on me in the middle of a take. I really don’t need this type of stress while I’m shooting.

Not having an EVF is a problem. The touchscreen while very good isn’t enough for me to rely on in all situations. I struggled in daylight to focus manually. I went to La Jolla to shoot some ocean scenics and it was very difficult to manually focus. The screen is really hard to see on a sunny day. I was also having autofocus issues with the Canon 24-105 and 70-200 F4 lenses with the SpeedBooster ULTRA. It doesn’t work with current firmware. Peaking and zoom helped but it’s not enough for me to feel confident. The screen doesn’t tilt either so you really have to be pretty much at eye level with the camera to operate it. The Pocket 4K likes being in the shade.

In my studio set test, I was trying to follow the action more so basically not a controlled situation. I was still having focus issues. Maybe it’s just me. I really missed not having an EVF. The shooting pace is much slower and deliberate for me with the pocket after seeing how many lost takes I had due to missed focus. This might not be an issue for some but it really worries me that I could miss a great moment because I couldn’t focus correctly on time.

The Pocket 4K needs an EVF like the Zacuto Graticle HD for sunny days to get critical focus and overall usability. Add in the battery life issue and the need to use external power makes the camera a candidate for a cage or rig so kit can be attached to make it usable. While this for many won’t be an issue I think it’s important to know that you will need it and an investment that equals the cameras cost or more is inevitable.

I personally don’t mind a cage on a dedicated video camera. With a hybrid, I don’t need all the extras for photography so I would take the cage off when stills are the primary use. A cage with a video camera is almost a necessary item. Stick it in one. Add an EVF, SSD mount and power solution and I think it would be a really good setup. I’m sure a lot of cages will be coming just in time for Christmass.

Scopes

Why Blackmagic Design only uses a Histogram on a cinema camera is a mystery to me. In fact the URSA cameras also only have Histograms. I really don’t like them. For video production, I much prefer a Waveform Monitor. Even a small one like you see on other cinema cameras is very handy for nailing skin tone. The Pocket 4K does have Zebra Stripes but their lowest setting is 75%. Again no love for the skin tone that I like to have around 55-65% depending on the skins shade. I like to turn it on. Set the exposure and turn it off. As is the Zebras are for highlight protection.

False color can be a handy tool for exposure and I don’t use it very often but I did with the pocket since it’s really the only tool I could use to assist in getting proper exposure. I don’t like it as much as a waveform monitor though.

For focusing, the Pocket 4K has a Focus Assist feature. This puts a red border around the subject when it’s in focus. You have three strength settings available. I found “High” to be too forgiving and “Low” to be somewhat useless. “Medium” is the safest bet however it doesn’t work if the contrast is low.

The Zoom feature is good and probably the better option for focusing but if things are moving fast you will miss the shot.

I find focusing a big issue for me with the Pocket 4K. Shooting off the back of the camera is not my preferred method and I did get a lot of out of focus shots. Much more than I expected in good shooting conditions indoors.

Image quality

Here is where it all comes down too. Is the image any good? Well yes, it is. In fact, I’m impressed with how good it is and that’s not to take into account the actual price. For only $1,295 it’s a real bargain. Plus it includes the full version of DaVinci Resolve Studio that retails for $299 effectively putting the Pocket Cinema Camera 4K at $1,004. Crazy.

The 120 fps footage is very good also. Most cameras really fall apart at 120 fps. The Pocket does an excellent job. While it can go to 25,000 ISO that doesn’t mean you should. 1250 looks great and even 4000 is very usable. I don’t have a high tolerance for noise and don’t enjoy denoising in post so I tend to keep the ISO levels as low as possible and use lights. For many, I think the ISO noise won’t be an issue.

Is it the best, perfect all you ever wanted 4K camera? Of course not, however, I wouldn’t mind having one just for the fact it is so inexpensive and shoots a high-quality codec. I do worry a little about the overall build quality but time will tell if it’s going to last out in the field.

Things I like

The price. At $1,295 USD it’s the least expensive ProRes 4K capable camera on the market.

The image quality is very good

ProRes is a fantastic codec to shoot in

One button push away from 60p shooting

High speed even 120 fps looks very good

The camera comes with a Davinci Resolve Studio licenses. $300 value

Things I don’t Like

Battery dies and shuts off the camera without warning while recording.

On/off switch is really old school

The battery door and compartment is a hot mess. I had a 3rd party battery get stuck inside and had to use a piece of gaffers tape to pull it out

Battery life is bad

The screen isn’t usable in the sun

No EVF

No Waveform

Well, my time has come to an end with the Pocket 4K. Time to send it back to Blackmagic Design. It was a fun ride with some turbulence but all in all, a very interesting camera just as long as you can work around some of the quirks I think Blackmagic Design really did something special with the Pocket Cinema Camera 4K. I like the innovation a lot and I think they will sell a crapload of these cameras due to the price alone and the ability to shoot such high-quality images with professional codecs. For $1,299 it’s practically disposable! I bet it will become Hollywoods most popular crash cam. Now if only I had a pocket the camera would fit in.

[thepaisley]

Process | Edward Wohl Woodworking from Jack Whaley on Vimeo.

Edward Wohl has been crafting furniture and cutting boards for over 40 years. His workshop and home are nestled in the rolling hills of southwestern Wisconsin. I had the pleasure of shooting this video over the course of a few visits to his workshop. My goal was to focus on Ed's philosophy and process behind building his furniture. Ed is a master woodworker and a genuinely wonderful human being - and I'm lucky to be be able to call him a friend.

"The joy of woodworking is the process. You start with raw pieces of wood, fashion a design and come up with something that's both durable and beautiful."

Shot with the Sony FS7 using Leica Summilux lenses (Duclos cine-mod).

Directed, Filmed and Edited by Jack Whaley Music by Steven Gutheinz "On the Way" (via Music Bed)

edwardwohl.com jackwhaley.com

[dreamcitychurch]

Edward Wohl has been crafting furniture and cutting boards for over 40 years. His workshop and home are nestled in the rolling hills of southwestern Wisconsin. I had the pleasure of shooting this video over the course of a few visits to his workshop. My goal was to focus on Ed's philosophy and process behind building his furniture. Ed is a master woodworker and a genuinely wonderful human being - and I'm lucky to be be able to call him a friend. "The joy of woodworking is the process. You start with raw pieces of wood, fashion a design and come up with something that's both durable and beautiful." Shot with the Sony FS7 using Leica Summilux lenses (Duclos cine-mod). Directed, Filmed and Edited by Jack Whaley Music by Steven Gutheinz "On the Way" (via Music Bed) www.edwardwohl.com www.jackwhaley.com