About the lens...
Jason asked us if we wanted to have a go at vintaging up his Contax Zeiss 50mm f1.4. Taking the bait like the idiots we are, numerous 'days and nights off' were spent playing around (sometimes after a few beers) with some very well optimised glass. Being a modern version of our FF58, The optical formula was near identical, only a lot more refined. Cutting edge optical coatings, beautifully cut glass, tight element spacing tolerances. But a larger aperture of f1.4.
We simply applied the same treatments to his Zeiss as we do to a typical FF58, while having to modify some of our processes slightly. Jason wanted a Blue tint, which is slightly less prominent than the results on a FF58, however still very present and reactive. Complete removal of the T* coatings and a gentle amount of cleaning marks on all elements has taken the edge off the normally very contrasty Zeiss. Maintaining sharpness, though the lack on contrast would suggest otherwise.
50p on nex5n, conformed to 25p. shot wide open @ f1.4 throughout. wb set to 7500k, A2 G2. WB settings to counteract the slight cool hue imparted by the blue tint on the lens when wide open and in bright conditions. Due to the slight cast created by the blue tinting on such a large aperture a WB offset of +1000k and some fine adjustments to the in-camera WB were applied.
No grading. Contrast boosted with a tweek in ProcAmp in Premiere, and a slight boost in saturation. Camera files were more milky and log like. Lots of dynamic range for such a little camera. The process of shooting with such a low contrast lens, then boosting contrast and saturation slightly in post (within a 32bit colour space-which ProcAmp is) creates a very subtle ageing effect to the footage while not harming the limited 8bit footage from a dslr h264 codec, The effect adds a lot of physicality to digital footage, and seems to work very well in making h264 footage look more expensive and juicy.
NEX5n was set to Portrait profile, Customised with these settings:-
sharpness: -3, contrast: -3, Saturation: -1 No in-camera effects.
Though it may look like it, there have been no light leak overlays applied to this footage. The light leak type glares are created by the lens, and are very reactive to the sunlight being broken by the leaves blowing in the wind.