American Cinematographer - May 2018 - 18
about 10' away. Using an Arri gear head
with ArriMotion motors, he was able to
preprogram a computer-driven motioncontrol pan so that every iteration of the
test would have exactly the same camera
movement. His pan was 180 degrees,
allowing him to examine every aspect of
the flares, from the extreme periphery of
the lenses to the center.
"I've seen too many tests with
assistants shining a flashlight into the
lens, but it's really hard to see all the qualities of a lens' flare with just a flashlight,
and its exact position might be different
from one lens to another, so you're not
really comparing the same thing," the
cinematographer notes. "I wanted something precise so that I could compare two
lenses under exactly the same conditions
and see how their flare properties were
different.
"I wanted a 180-degree pan
because some lenses flare very early in
the edges and some don't," he adds. "I
wanted to be able to see exactly how far
off-axis the flare started on each lens."
For each family of lenses, Förderer
tested an 18mm, 35mm and 85mm focal
length (or the nearest equivalents) at full
wide aperture and one stop down. The
lenses were focused at about 6', as if they
were a normal distance from talent.
AC sat down with Förderer at his
home in Los Angeles to take a look at the
wealth of information gathered in this
test. It included Bausch & Lomb Super
Baltars from the mid 1960s and Arri/Zeiss
Master Primes from the early 2000s,
anamorphic and spherical optics, zooms
and primes, coated and uncoated lenses
- even with and without filtration. His
test ran the gamut. He also designed a
web interface so that two lenses can be
selected at any given time and played
side-by-side as simultaneous videos with
perfect synchronization between them,
allowing you to clearly see how each lens
Selections from Markus Förderer, BVK's
lens-flare test. From top: An 18mm Zeiss
Super Speed, wide open at T1.3, with
regular coating; an uncoated 18mm Zeiss
Super Speed, also T1.3; a Canon K-35 35mm
prime, set to T2.8; and a Canon K-35 25120mm zoom at its 35mm focal length,
wide open at T2.8.
18
May 2018
American Cinematographer
Table of Contents for the Digital Edition of American Cinematographer - May 2018
Contents
American Cinematographer - May 2018 - Cover1
American Cinematographer - May 2018 - Cover2
American Cinematographer - May 2018 - 1
American Cinematographer - May 2018 - 2
American Cinematographer - May 2018 - Contents
American Cinematographer - May 2018 - 4
American Cinematographer - May 2018 - 5
American Cinematographer - May 2018 - 6
American Cinematographer - May 2018 - 7
American Cinematographer - May 2018 - 8
American Cinematographer - May 2018 - 9
American Cinematographer - May 2018 - 10
American Cinematographer - May 2018 - 11
American Cinematographer - May 2018 - 12
American Cinematographer - May 2018 - 13
American Cinematographer - May 2018 - 14
American Cinematographer - May 2018 - 15
American Cinematographer - May 2018 - 16
American Cinematographer - May 2018 - 17
American Cinematographer - May 2018 - 18
American Cinematographer - May 2018 - 19
American Cinematographer - May 2018 - 20
American Cinematographer - May 2018 - 21
American Cinematographer - May 2018 - 22
American Cinematographer - May 2018 - 23
American Cinematographer - May 2018 - 24
American Cinematographer - May 2018 - 25
American Cinematographer - May 2018 - 26
American Cinematographer - May 2018 - 27
American Cinematographer - May 2018 - 28
American Cinematographer - May 2018 - 29
American Cinematographer - May 2018 - 30
American Cinematographer - May 2018 - 31
American Cinematographer - May 2018 - 32
American Cinematographer - May 2018 - 33
American Cinematographer - May 2018 - 34
American Cinematographer - May 2018 - 35
American Cinematographer - May 2018 - 36
American Cinematographer - May 2018 - 37
American Cinematographer - May 2018 - 38
American Cinematographer - May 2018 - 39
American Cinematographer - May 2018 - 40
American Cinematographer - May 2018 - 41
American Cinematographer - May 2018 - 42
American Cinematographer - May 2018 - 43
American Cinematographer - May 2018 - 44
American Cinematographer - May 2018 - 45
American Cinematographer - May 2018 - 46
American Cinematographer - May 2018 - 47
American Cinematographer - May 2018 - 48
American Cinematographer - May 2018 - 49
American Cinematographer - May 2018 - 50
American Cinematographer - May 2018 - 51
American Cinematographer - May 2018 - 52
American Cinematographer - May 2018 - 53
American Cinematographer - May 2018 - 54
American Cinematographer - May 2018 - 55
American Cinematographer - May 2018 - 56
American Cinematographer - May 2018 - 57
American Cinematographer - May 2018 - 58
American Cinematographer - May 2018 - 59
American Cinematographer - May 2018 - 60
American Cinematographer - May 2018 - 61
American Cinematographer - May 2018 - 62
American Cinematographer - May 2018 - 63
American Cinematographer - May 2018 - 64
American Cinematographer - May 2018 - 65
American Cinematographer - May 2018 - 66
American Cinematographer - May 2018 - 67
American Cinematographer - May 2018 - 68
American Cinematographer - May 2018 - 69
American Cinematographer - May 2018 - 70
American Cinematographer - May 2018 - 71
American Cinematographer - May 2018 - 72
American Cinematographer - May 2018 - 73
American Cinematographer - May 2018 - 74
American Cinematographer - May 2018 - 75
American Cinematographer - May 2018 - 76
American Cinematographer - May 2018 - 77
American Cinematographer - May 2018 - 78
American Cinematographer - May 2018 - 79
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American Cinematographer - May 2018 - 81
American Cinematographer - May 2018 - 82
American Cinematographer - May 2018 - 83
American Cinematographer - May 2018 - 84
American Cinematographer - May 2018 - 85
American Cinematographer - May 2018 - 86
American Cinematographer - May 2018 - 87
American Cinematographer - May 2018 - 88
American Cinematographer - May 2018 - Cover3
American Cinematographer - May 2018 - Cover4
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