Jump to content


Photo

Hawk V-Lite Rental UK


  • Please log in to reply
12 replies to this topic

#1 Rob Webster

Rob Webster
  • Basic Members
  • PipPip
  • 53 posts
  • 1st Assistant Camera

Posted 20 October 2009 - 12:27 PM

Does anyone if rental houses in the UK have started to stock these lenses yet? Seen them online in a few places, but most the major houses seem to steering well clear.

Any information would be much appreciated.

Regards,

Rob
  • 0

#2 John Holland

John Holland
  • Basic Members
  • PipPipPipPip
  • 2096 posts
  • Cinematographer
  • London England

Posted 20 October 2009 - 12:35 PM

I would try ArriMedia or have you already ?
  • 0

#3 Rob Webster

Rob Webster
  • Basic Members
  • PipPip
  • 53 posts
  • 1st Assistant Camera

Posted 21 October 2009 - 11:01 AM

I would try ArriMedia or have you already ?


No luck from Arri. I'm looking for Super16mm version by the way.
  • 0

#4 John Holland

John Holland
  • Basic Members
  • PipPipPipPip
  • 2096 posts
  • Cinematographer
  • London England

Posted 21 October 2009 - 11:30 AM

Rob , i dont think there is a Super 16 version ! They do Anamorphics for D21 digital camera , but think you are out of luck for S16 !!
  • 0

#5 Stephen Murphy

Stephen Murphy
  • Sustaining Members
  • 795 posts
  • Cinematographer
  • London, UK

Posted 21 October 2009 - 12:05 PM

Rob , i dont think there is a Super 16 version ! They do Anamorphics for D21 digital camera , but think you are out of luck for S16 !!


You'd be better off contacting Vantage directly for the Super 16mm anamorphics
  • 0

#6 Matti Eerikainen

Matti Eerikainen
  • Basic Members
  • PipPip
  • 12 posts
  • Cinematographer
  • Finland

Posted 01 November 2009 - 10:47 AM

Does anyone if rental houses in the UK have started to stock these lenses yet? Seen them online in a few places, but most the major houses seem to steering well clear.

Any information would be much appreciated.

Regards,

Rob


I think the best idea is to contact Vantage Film straight.

We just wrapped our short film's principal photography last weekend here in Finland. I was using Hawk's V-Lite 1.3X lenses on Arri416 with Vantage Film's anamorphic viewfinder. When the idea of using anamorphic lenses came I contacted Vantage and asked some reference material and brochures. They were very nice and helpful and sent some material (for some reason I couldn't find the brochures about V-Lite 1.3X Super16mm on their website, so they sent it to me. If you'd like to have it, I can send it to you). Later when our producer contacted them, they made a subrental deal via our local camera rental company here in Helsinki.

Because of the budget reasons (it was our school project) I used only 18mm and 35mm. I wanted to shoot with 14mm but it later cleared up that they hadn't manufactured it yet although that was printed in the brochure. So when the tighter lenses arrived, I shot some tests only two days before our shootings started. I was pretty amazed about their quality - it was just mind blowing shaprness and the 35mm looks great on close-ups. Also the nice flares (yes, that was one of the desired features we were looking for) were there although I was little sceptical because of the 1.3X squeeze.

We are going to telecine tomorrow so it's getting little exiciting. Hope everything is fine and we have great pictures waiting to be cut together. If you have any further questions or would like to hear about my experiences with Hawk's, just ask. I'll try to help as best I can.

Cheers, Matti
  • 0

#7 Matt Garrett

Matt Garrett
  • Basic Members
  • PipPip
  • 39 posts
  • Camera Operator

Posted 04 November 2009 - 09:38 PM

We are going to telecine tomorrow so it's getting little exiciting. Hope everything is fine and we have great pictures waiting to be cut together. If you have any further questions or would like to hear about my experiences with Hawk's, just ask. I'll try to help as best I can.

Cheers, Matti


Post some stills if you can. Would love to see.
  • 0

#8 Matti Eerikainen

Matti Eerikainen
  • Basic Members
  • PipPip
  • 12 posts
  • Cinematographer
  • Finland

Posted 07 November 2009 - 08:40 AM

Post some stills if you can. Would love to see.


Yes, of course. I'll post some as soon as I get one of our hard drives home. :)

Before that I have to say I was quite disappointed about the anamorphic flares: there were no such! I don't know what I did wrong because I got them on our test by simply pointing my mini maglite towards lens. Also some house lights at the rental shop created nice blue flares. So I was very confident about creating them easily. Well, I tried to get them in the shootings with bare bulbs and even though I saw some reflections/flares through view finder there were none of them on film. Except when I shot against sun. I think the haze we used maybe softened the light peak too much or the bulbs were dimmed too low. I'm not sure. Or the lenses were too modern!


-M

Edited by Matti Eerikainen, 07 November 2009 - 08:41 AM.

  • 0

#9 Kar Wai Ng

Kar Wai Ng
  • Basic Members
  • PipPipPip
  • 106 posts
  • 1st Assistant Camera
  • Toronto, Canada

Posted 07 November 2009 - 01:43 PM

Because the anamorphic element on Hawk lenses are in the centre of the lens, not at the front, the blue streak artifact is far less pronounced. If you want to accentuate it, you could cheat a little and use the streak filter that Vantage also makes.

Before that I have to say I was quite disappointed about the anamorphic flares: there were no such! I don't know what I did wrong because I got them on our test by simply pointing my mini maglite towards lens. Also some house lights at the rental shop created nice blue flares. So I was very confident about creating them easily. Well, I tried to get them in the shootings with bare bulbs and even though I saw some reflections/flares through view finder there were none of them on film. Except when I shot against sun. I think the haze we used maybe softened the light peak too much or the bulbs were dimmed too low. I'm not sure. Or the lenses were too modern!


-M


  • 0

#10 Matti Eerikainen

Matti Eerikainen
  • Basic Members
  • PipPip
  • 12 posts
  • Cinematographer
  • Finland

Posted 09 November 2009 - 03:14 PM

Because the anamorphic element on Hawk lenses are in the centre of the lens, not at the front, the blue streak artifact is far less pronounced. If you want to accentuate it, you could cheat a little and use the streak filter that Vantage also makes.


Actually I knew that but because the tests gave such an positive result, I didn't worry about it. Seems now that maybe I should have.. or at least spend little more time trying to aim some extra lights to lens.

But here are few stills. Film went through Spirit 2K best-light scan. As you can see, I made some color correction with Photoshop.

The story is set to some sort of fantasy world where our main characters are travelling in a train through the darkness. The car is divided in three sections: warehouse, street bar and restaurant. We shot it on real restaurant car from the forties because of the regulations considering school's practice movies (this was our first - next time we are able to use our studio too). It was quite tricky, sweaty and narrow, but somehow we managed to shoot there.


Posted Image

Posted Image

Posted Image

Posted Image

Posted Image
  • 0

#11 R Walker

R Walker
  • Basic Members
  • PipPip
  • 10 posts
  • NY, NY

Posted 11 November 2009 - 06:33 PM

Matti-

your stills look great!
i was doing some research on using Hawks with Super16 for a feature I'm shooting in a few months and i came across this thread. I have been warned against using anamorphic lenses with Super16 especially for the final blow up/projection. I would love your thoughts on your experience with the Hawks- while in production (how much light did they cut?) and also with the final product- was there any graininess/softness? I read about your experience with the flares, so I'm aware of that...
thanks very much!
r. walker
  • 0

#12 Adam Frisch FSF

Adam Frisch FSF
  • Sustaining Members
  • 1797 posts
  • Cinematographer
  • Los Angeles, USA

Posted 14 November 2009 - 12:38 AM

Take 2 Films has the whole V-lite series in London.

The new 1.5x series are so expensive that no one has bought them yet, but I'm sure they will.
  • 0

#13 Matti Eerikainen

Matti Eerikainen
  • Basic Members
  • PipPip
  • 12 posts
  • Cinematographer
  • Finland

Posted 17 November 2009 - 11:16 AM

Matti-

your stills look great!
i was doing some research on using Hawks with Super16 for a feature I'm shooting in a few months and i came across this thread. I have been warned against using anamorphic lenses with Super16 especially for the final blow up/projection. I would love your thoughts on your experience with the Hawks- while in production (how much light did they cut?) and also with the final product- was there any graininess/softness? I read about your experience with the flares, so I'm aware of that...
thanks very much!
r. walker


Thanks for the compliment, Walker.

When we chose to shoot with anamorphic lenses I heard some warnings about possible focus issues and lack of light intensity. Because our final format was going to be a squeezed anamorphic 16:9 HD file (maybe HDCAM SR) I never thought about issues considering blow up film print.

As I mentioned above I had two lenses: 18mm (T1.5, V-Lite) and 35mm (T2.2, V-Series). Originally I had reserved two lenses from V-Lite series (14mm T1.5 and 35mm T1.5) but because of some sort of communication/delivery problems I got the lenses first mentioned. It was later cleared up that there is no 14mm manufactured yet. So, I was little shocked when the lenses arrived three days before our filming started. I was little worried because we really had the need for the wide angle lens because the narrow space we had in the train. But, as it was a school project and I was happy enough to shoot with anamorphic we just changed some parts of the story board and hoped for the best. I think this was the first time somebody even got a chance to shoot anamorphic in our school so we really wanted to hold on that.

When the lenses arrived I shot short tests with both lenses and got telecine one day before our filming started. I also tested if we could have shot the movie with our school's old Aaton XTR S16, but somehow lenses didn't quite fit: image was little twisted from the upper left corner. I was planned that I could’ve lived with the 1.3X image squeeze but when we realized the bigger problem we fortunately got a chance to shoot with Arri416 with anamorphic viewfinder. After changed to 416, it was like a different world I was seeing through the view finder. Afterwards I think I was too optimistic thinking I could’ve shot the movie with Aaton. Lesson learned.

After telecine I was very happy with the results. The image was sharp and the grain (Vision3 500T) was really no issue. It was very fine-grained. I didn't notice difference between the lenses. I think the 35mm looked very good on close-ups. Our telecine transferer said he hadn't seen as sharp S16mm film before.

I shot the whole movie keeping the aperture between 2 1/2 and 2.8 1/2. Unfortunately I hadn't time or resources to do a complete test (only 30 meters (~100 feet) of film was allowed to use in the test) so I thought that stopping one or two f-stops would give me a better image quality and I would avoid most of optical distortions. I think I lost some depth but I got sharpness. I didn’t notice any chromatic aberration or vignetting.

I had a really positive experience with Hawk’s and I really look forward to use them again. I think we didn’t quite get the best of them because shooting in such a narrow space and not to be able to use longer lenses to achieve the anamorphic feeling. That’s of course partly because of the 1.3x squeeze. Next time I would like to try the normal 2x squeeze and see the difference.

However I think we achieved considerably better image quality and feel of something different than if we had just cropped the frame.

-M
  • 0


CineLab

The Slider

Pro 8mm

Cadrage Directors Viewfinder

Zylight

Media Blackout - Custom Cables and AKS

Glidecam

Aerial Filmworks

NIBL

Paralinx LLC

Ritter Battery

CineTape

Sound and Picture

Abel Cine

Cinelicious

K5600 Lighting

Robert Starling

rebotnix Technologies

Rig Wheels Passport

Visual Products

Visual Products

The Slider

Ritter Battery

Cinelicious

CineTape

Zylight

NIBL

Aerial Filmworks

Cadrage Directors Viewfinder

Pro 8mm

K5600 Lighting

CineLab

rebotnix Technologies

Sound and Picture

Media Blackout - Custom Cables and AKS

Robert Starling

Paralinx LLC

Abel Cine

Rig Wheels Passport

Glidecam