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What's one of the best parts about being a video professional? All the cool gear! In this weekly series, Rich Harrington and Robbie Carman team up to discuss the latest and greatest equipment for video production and post. They talk about the newest cameras, like the Blackmagic 4K, pocket cinema cameras, and GoPros; accessories and adapters that will make your shoots run smoother; and the great tech being invented every day. And because they keep both cost and quality in mind, you'll never have to worry about blowing your budget or compromising production value. Come back every Friday for a new tip.
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All right Rob, we're talking about cheap lenses. I think we should start with one of the most cheapest and biggest cult followings out there. >> Yeah, the Lomography lenses and the Lomography system. If you do a little research online, you'll find that there is a huge cult behind Lomography. I think of Lomography as sort of Russian toy camera. >> Yeah. >> That's kind of what I think of it as. And there are modern versions of it and people making new stuff for it and, you know, making new changes. But that's kind of a background. And the thing about these lenses, is when you pick it up, you wonder to yourself, is this from my kid's like Fisher Price kind of camera? >> Yeah.
>> The fact is that they are really sort of lightweight, plastic-ky, cheap lenses. And the results that they have though are really fun. I found myself kind of being addicted to the look. Now, I just want to be clear about one thing, is that a lot of apps out there. >> Yeah. >> You know, photo apps out there for phones and tablets have actually really kind of gotten behind this kind of look as one of their starting points. A toy camera look. >> Oh, absolutely. A toy camera effect, or sort of the wide angle lens, I mean, this is almost the inspiration for Instagram >> Absolutely. >> As Lomography, and I wanted a way to put that on to my cameras.
Now, what I was excited about, was these were released for the micro 4 3rds standard. Now they haven't done them for Canon or Nikon, but with micro 4 3rds these can go on a lot of different cameras. >> Yeah, that's true Rich. They could go on a lot of cameras from Olympus, they could go on a Blackmagic Pocket camera. Really any camera that's going to use that micro 4 3rds sensor, even like a Panasonic cam. >> Yeah, GH3, GH4, there is lots out there and there are of course, adaptors from micro 4 3rds to other cameras. because these are, what we would call, dumb lenses. >> Yeah. Yeah. >> LIke, if you look at the book, there is no electronic communication with these lens.
>> Nope. >> This is just a mount. So, you can adapt this from micro 4 3rds to just about anything. Because this is a 100% manual lens. All right, what do you have there? >> Well, I got this 12mm but, Rich, there's a lot of controls on these lenses. And let's get this mounted on to a camera, one of the ones you have mounted on a camera. And why don't you walk us through the various controls that we have on these lenses. >> Well, on the back side there, why don't you open that up? >> Sure. >> There is a little pocket where you could a colored gel. Now, some of you are going to be like, why in the world would I put a color gel into the camera? I could do that in post but what's the advantage or disadvantage of gels? >> Well, the advantages is that, you kind of have that effect baked into the shot that you take, right? And you are ready to go and you don't have to do any further post process and if you don't want.
Because you have sort of stylistically already set it up. The obvious disadvantage is that you've already set it up and that you sort of have that baked into kind of the shot. It's kind of a cool sort of approach to things. And the way that gels allow you to do is alter the color temperature of what you're getting on the entire frame or even a portion of the frame. Now on these lenses. They're very thin pieces of plastic gel that just kind of slip into the back there and of course, they're going to affect the entire frame. >> Yeah, now once you've got that in there, you just take that and line it up with the camera. Now you use the dots, so pretty simple.
If you take a look at that, there is a dot on the lens. >> Yeah. >> Line that up with the dot on the camera. And then, gently place it and turn and it will click into place. >> Mm-hm. >> Now you got all these other controls. These controls are really for still work. >> Yeah. >> This is if you want to do multiple exposures, manually, pulling down, how long the iris stays opened. Again, that's all for still photography work. For video, you're just going to pull that switch on the bottom to open it up. And that, basically, allows you to lock that into place so it stays open.
>> Got it. >> So, pull the trigger and then pull the lock. >> Okay. >> And then, once you've got that, you can actually just adjust. This particular one is designed to go from 0.2 meters out to infinity. Now, there's no other marks on there. >> So just know that it's really close or really far, and everything else, you're going to have to just kind of guess. >> Well, that's the beauty about these lenses is they're not made for optical precision. You're not going to find them you know, with a top Hollywood dp on a million dollar budget film where everything you know, accuracy is, is critical.
These are all about having fun and getting unique and different looks out of your footage. >> I see this being great for action sports, for getting fun stuff with a music video look or promo's. And you know, the ability here by having three lenses in the kit and, and might I add this kit is less than a $100. So this is one of those things where it's like, well, that would just be fun. A fun wide angle lens. A fun sort of standard lens. You know, we just have these different options here and a fish eye. This is going to really let you get some variety to the shots and they are all pretty fast at 1.8.
So, these lenses let a lot of light in. If you look at that, it just pretty much passes everything straight through the back. So, a lot of light goes through and as you mentioned Rob, you know, you can have the gel in there. >> Mm-hm. Or you could pull it out. It's all optional. But that sort of colored, stylized soft focus, dreamy focus look is kind of indicative of the Lomography. >> Yeah. And just one last note about the gels themselves is that they're very easy to lose. So when you sort of take them out of their filter pack there put them right back in. Also when you're actually swapping your lens off your camera, in the case of we were using the Blackmagic Pocket camera here.
I, I've actually had it happen when they're not pushed in all the way. That I'm just kind of puttin the camera in and the next thing you know this actually falls into the body of the camera, yikes. Touches the sensor. So just be a little, extra careful when your putting them in and attaching them to the camera. >> All right. Well, that's the Lomography lenses. Let's take a look at a couple more.
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