The A cam conundrum continues. We’ve been looking for new lenses since we realized the stock Fujinon models we had planned to use to shoot We’ve been looking for new lenses since we realized the stock Fujinon models we had planned to use to shoot our first 3D documentary don’t deliver the footage quality we need.
The successful candidates need to:
1) Be designed for a 1/3-inch sensor (specifically, the Iconix models we’ve purchased – lenses designed for a 2/3-inch sensor leave us with a cropped image);
2) Have HD resolution AND high-quality sharpness (the latter was what the Fujinon 2.8 mm and 4 mm lenses, generally used for security/surveillance systems, ultimately lacked);
3) Be a wide-angle lens that allows us to film 1 ½ to 2 metres away from our subject without having the background diverge – a cornerstone rule of 3D production.
Amazingly, it appears that there isn’t a lens on the market anywhere in the world that satisfies these criteria.
Well, why not just switch to a 2/3-inch sensor system, then?
Here’s the issue: we chose the 1/3-inch system because the 2/3-inch camera systems have a beefier head, which means the lenses would have to be mounted further apart.
This would increase our interaxial distance to a little further than we ideally want for these relatively close-up shots, a must for the explosive demolition series, Blowdown, that we’re going to film.
I’ve ordered the closest thing we can find – two Schneider Cinegon 5.3 mm lenses – from New York.
They’re designed specifically for a 1/3-inch sensor, and they apparently shoot better quality than the Fujinons – but they don’t shoot in HD.
We’ll have to test them and see if the footage makes the cut.
And while they’re in transit, our search for the ultimate A cam lenses carries on.
