Jonah talks about the CN-E lens comparison. DPs Scott Regan and Teddy Hoffman joined us in playing with the new Canon CN-E Cine Primes on the C300, Scarlet-X and AF100.
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Hello, I’m Jonah with Magnanimous Media, and I’m going to be talking about the Cine lens comparison. This was an unscientific comparison; we just wanted to see how Canon’s still lenses would stack up against their Cine line.
Chicago-area DP Scott Regan and Teddy Hoffman joined me to see what the Cine lenses had to offer. The first thing I was looking for was any difference in color and contrast. It quickly became apparent that Canon’s using the same optics in the still lenses as they’re using in the Cine lenses, with slightly warm color, and the contrast was indistinguishable between EF and Cine lenses. However, we were dealing with changing sunlight, so a more precise judgment will have to come after we’re able to get the lenses in a controlled environment with chip charts.
Scott was quick to point out the first difference: focus appears to fall off a bit more smoothly with the Cine lenses, which could be attributed to differences in build. When looking at the footage in 4K, the Cine footage looks slightly crisper in places, which could be a result of better build and less diffraction. This difference is less noticeable in HD. Some breathing does appear to be present in this shot with the EF 85mm; it doesn’t seem to be present at all in the same move through Cine glass. In our enthusiasm to shoot with these lenses, we did not do a comprehensive breathing comparison, but we will be doing a comprehensive comparison of all our lenses once we take delivery of our Cine glass.
The Canon still lenses hold up very well in HD, and present a very attractive cost/benefit ratio, so you might wonder why should you spend extra money on the Cine glass. If you’re unimpressed by the differences in the footage, then you will be impressed by the build quality and form factor, which, in my opinion, are worth it alone. To begin with, you’re getting a manual aperture and T-stops, which lends itself to a much more precise fine-tuning of the exposure. Using transmission stops allows you to mix your shoot with lenses from other manufacturers, as opposed to F-stops, which are calculated. T-stops are actually measured and account for light loss through the lens, and they are universal throughout manufacturers. Focus hard stops means that you can use low- to high-end lens control systems with accuracy and no special treatment. You have accurate measure marks to pull focus from, and a throw that will allow for smooth and precise focus pulls. Additionally, lens swaps are much less painful with the Cine glass. Take, for example, the EF 50mm. It’s quite a short lens, and if you’re switching to an 85 or a 100, it’s going to require much more modification to the front end of your support system, like your matte box and your follow focus. But when you’re switching between Cine lenses, the build is quite comparable between focal lengths, and will require minimal to no modification of your matte box or follow focus.
The bottom lines is that Canon makes great glass, and now you can get that glass in Cine form. So if you’re not a fan of Zeiss Compact Primes, you have a great alternative now. Stay tuned for our comprehensive lens comparison: we’ll put the Cines up to the Zeiss Compact Primes. For more news and tutorials, check us out at magnanimous.biz.# vimeo.com/54334606 Uploaded 16.5K Plays 69 Likes 4 Comments
Zimoun : A Selection of Works 2005-2017
Compilation Video V.3.7 / Updated: August, 2017
HD 1920 x 1080 px
'Using simple and functional components, Zimoun builds architecturally-minded platforms of sound. Exploring mechanical rhythm and flow in prepared systems, his installations incorporate commonplace industrial objects. In an obsessive display of simple and functional materials, these works articulate a tension between the orderly patterns of Modernism and the chaotic forces of life. Carrying an emotional depth, the acoustic hum of natural phenomena in Zimoun's minimalist constructions effortlessly reverberates.'
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Current & upcoming Exhibitions:
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«The sound sculptures and installations of Zimoun are graceful, mechanized works of playful poetry, their structural simplicity opens like an industrial bloom to reveal a complex and intricate series of relationships, an ongoing interplay between the «artificial» and the «organic». It‘s an artistic research of simple and elegant systems to generate and study complex behaviors in sound and motion. Zimoun creates sound pieces from basic components, often using multiples of the same prepared mechanical elements to examine the creation and degeneration of patterns.» Tim Beck
«Zimoun is best compared to a watchmaker of a self-reproducing time constructing his own gauging station.» Radjo Monk
«The clean, elegant sound sculptures combine visual, sonic, and spatial elements in an organically balanced entirely artwork. Using simple and well- conceived mechanical systems, Zimouns‘s work transforms and activates the space.» Jury Prix Ars Electronica 2010
«Zimoun creates complex kinetic sound sculptures by arranging industrially produced parts according to seemingly simple rules. Using motors, wires, ventilators, etc.., he creates closed systems that develop their own behavior and rules similarly to artificial creatures. Once running, they are left to themselves and go through an indeterminable process of (de)generation.
These quasi autonomous creatures exist in an absolutely synthetic sphere of lifeless matter. However, within the precise, determinist systems creative categorioes suddenly reappear, such as deviation, refusal and transcience out of which complex patterns of behavior evolve.» Node10
«It is a poetic and humorous absurdity we find in Zimoun’s work, which opens up a wide, refreshing and enriching space for discoveries, associations and a multitude of approaches.» Nina Terry
«The components used in Zimoun’s work are simple, functional and raw, whereas only aesthetically high-level and purposefully chosen elements and materials are used in minimalist fashion. Through radical reduction, Zimoun creates works of art which allow for a plethora of associations without being pinned down to a specific direction. Radical abstraction functions rather like a code in the background of things, thus elegantly avoiding an insinuation of direct, concrete attribution. Thanks to the abundance of mechanical activity, the range of perception, possibilities and interpretations is wide open.» Amanda Neumann
«Indeed, one of the refreshing elements of this work is the immediacy with which one can understand the sound-making process, where each micro-event is present, visible, and concrete. Yet at the same time the resulting complexity of the total system, conjured before your eyes, defies any attempt to dissect it. You might find yourself feeling there is a «prime mover» at work behind the scenes, but in fact it is just the characteristic reaction of materials behaving together and in unison with the space of their activity. A magic of the real.» Xymara
_# vimeo.com/7235817 Uploaded 917K Plays 9,066 Likes 135 Comments
This piece was a fantastic byproduct of the high speed shoot produced and directed by Nate Adams using the P+S Technik PS-CAM X35 prototype camera. The slo-mo punch was shot on a green screen with the idea it would be a funny no smoking piece... Then my friend Cooper Johnson and his team at Cardboard Castle keyed it from the green screen and came up with the great concept, music and edited it all together. They did an AWESOME job!!# vimeo.com/29336930 Uploaded