![]() Got a raking two-shot in a dark interior and can't quite make the focus split? And so on. They're useful in a more mundane way, too - remember those in car profile two-shots at night where one actor is sharp and the other is a blob? Bring on the swing-shifts! I'd love to carry a set on a picture one day with the express idea of integrating them into the aesthetic. They have become a little over-used here in the UK on commercials but they're very effective. Allow plenty of time to set up your shot! You can then track without pulling focus at all if you place your subject in the plane of focus. But you can do things like set up a plane of focus where an object will be sharp at 18" from the lens on the left of frame and sharp at 50' on the right. The Arri kit seems easier to use - has better locks and a little scale for each adjustment and better build quality - but the Clairmont kit has a wider range of lenses.They're both good though. However I've only used the swing&shifts for normally composed shots on people rather than for extreme close-ups on packs etc, and I suspect the previous advice is good - do some research on view cameras and how to use them.I've used the Clairmont kit and the Arri kit. There really isn't any other way.Exposure correction only applies for extreme close up subjects, the best method I've found is to measure the image size in the plane of focus with the lens set flat, then apply the amount of swing and tilt desired, and apply the appropriate correction for the magnification factor, using formulae or tables. You only have one plane to work with and therefore can get results much more quickly.ĭepth of field is best judged by eye. it's a lot easier to follow focus with the Arri lenses.As a taster and an intro to the idea you may want to try the CP swing lenses that are based on the Canon still lenses. However, the Clairmont/CP lenses are capable of more extreme effects than the Arri ones.I use these lenses a lot and don't really have a preference for either, they are both good in different areas, e.g. The exposure is pretty constant across the shiftable image with the Arri T&S lenses but drops off at the more extreme shifts with the Clairmont/CP lenses. most of the picture soft as you can and only a very narrow strip sharp, like the commercial I've just finished shooting, then it's probably best that you still read the book but then you just play until you get the focus effect you want. to correct perspective or increase depth of field in a given plane then your best bet is to get a book like the one Sinar ( makers of 5 * 4 & 10 * 8 view cameras ) publish on the subject.If you want to use it for effects type shots i.e. It really depends what you want to use them for, if you want to use them "correctly" i.e. When you go to perspective control lenses with that dinky little 35mm negative, you won't have half the control that you can get with a view camera, but you'll know what to do with it. ![]() Let me strongly recommend an introductory text on view cameras (maybe Adams' _Camera and Lens_ and an afternoon spent with a 4X5 camera.This will give you a good idea of what can be accomplished with swings and tilts, and the effect of shifting the plane of focus is very visible on the ground glass ![]() (I'm particularly concerned on depth of field and exposure corrections) All Camera and Lens evaluation from 2000 onwardsĪny thoughts on "shift n' tilt" lenses usage? I've never worked with and would appreciate some words of advice.Lens Comparisons Anamorphic, Spherical, S35 & FF.The Agony of Choice - Vintage/New Lenses.ACES for cinematographers (video demo/class).ACES LUTs for use in a non-ACES environment.ACES - Geoff at AMPAS Cinematography Summit.ACES - Protect Your Creative Intent with ACES. ![]()
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