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CMS-XML Depth-Of-Field Tables for the CINE-SERVO 50-1000mm T5.0-8.9 EF/PL lens.
... 0.01 mm f = 50 f = 75 f = 100 f = 200 f = 500 f = 1000 ... 0.01 mm f = 50 x ... f = 75 x ... 150 .10 299 ... f = 100 x ... f = 200 x ... f = 500 x ... f = 1000 x ... ... 0.01 mm f = 50 ... 35.5 6.3 206.03 ... ... 5.45 3.5 3.33 ... f = 75 ... 4.55 3.5 3.42 ... f = 100
PDF CINEMA EOS LENSES
But, a survey of the contemporary sets of prime lenses available from the world’s great optical manufacturers show broad diversity in the ranges of focal lengths they collectively cover. There are sets that range from 14/16 mm to 65/75 mm and others that range from 32/35mmto95/ 150mm , and there are other variants. These individual sets generally have maximum relative apertures that are equal – critical to the DP changing lenses on a given scene.
CMS-XML Depth-Of-Field Tables for the CINE-SERVO 17-120mm T2.95-3.9 EF/PL
4.17 - 4.90 4.08 - 5.05 3.93 - 5.33 3.74 - 5.79 3.51 - 6.64 3.24 - 8.47 2.93 - 14.56 4 3.75 - 4.30 3.68 - 4.40 3.56 - 4.60 3.41 - 4.92 3.23 - 5.48 3.01 - 6.59 2.76 - 9.49 3.5
PDF CINEMA EOS LENSES
As a simple illustration – if a given lens accepts a white light level input (normalized as 100 %) and delivers 75% of that light level at its output port, and at the same time the same lens introduces flare and veiling glares of 0.5% on the black portion of the scene then the contrast ratio is 75/0.5 = 150 . ... 3 Figure 5 Showing a typical Relative Light Distribution characteristic for a Super 35mm cine zoom lens