Hacking Photography - one Picture at a time
A few years ago, Nikolas Moldenhauer of Media Division showed us how he and Kolari Vision modified and used an ultra-fast f/0.7 lens. And now, Nikolas and his team have gone even further and built something “impossible.” It’s an f/0.3 lens, faster than any lens you’ve ever seen.
In a video, Nikolas shares the entire process behind this incredible piece of gear. What’s more, Media Division also filmed a short film on it to show you its capabilities.
There was a time when it was hard to even give Canon FD lenses away. I remember picking up a Canon A-1 and 50mm f/1.8 FD lens about 12 years ago at auction for £3. Both camera and lens worked flawlessly, too. Now, though, FD lenses have become a big hit with filmmakers. Their prices have gone up a little bit in the last few years, but many can still be found for bargain prices.
In this video, Media Division spends almost an hour and a half walking us through the Canon FD lens lineup to see how they perform and compare to the rare and expensive Canon K35 cine lenses, which were used to shoot everything from Aliens and Her to Westworld and The Handmaid’s Tale. Can Canon FD match the look of K35?
Ultra-fast lenses are not something you would use every day, but they sure have their application and perks. In his latest video, Nikolas Moldenhauer of Media Division bring you everything that you wanted to know about shooting with these lenses. He uses an f/0.73 lens, pushes its limits, and shows you everything that a lens like this can do.
Motion control is one of the most fascinating topics of photography and filmmaking for me. It combines several of my favourite subjects. Photography, electronics, engineering and programming. Motion control allows us to create some amazing imagery that just wouldn’t be possible in any other way. It also allows us to do it over and over again consistently.
That’s what drew YouTube channel Media Division to motion control and The Marmalade production house to record their new video intro. Consistency and repeatability. Their goal was to create a composite clip, shot with a moving camera, blending four different speeds of footage from real-time to 25% speed seamlessly.
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