Documentary-style run-and-gun is my passion, but my desire to explore narrative storytelling led me to realize my video camera’s cinematic limitations. The industry has made incredible strides in the last 10 years on bridging that film-to video visual gap for independent filmmakers, including 24p, 16:9 aspect ratio, HD, cinematic gamma color correction, and other post-production tools. But the inability to change focal lengths and depth of field [DOF] on video cameras handicaps the film purists and video storytellers who crave those missing photographic elements. The latest technology of lens adapters brings renewed possibilities into the digital filmmaker’s toybox.
The most popular workhorse prosumer cameras have a fixed lens that does not allow adjustments of focal length beyond the wide and telephoto options. Nor do they offer adequate aperature options that empower the filmmaker with total control of DOF. Lens adapters allow filmmakers to attach a prime lens in front of the fixed lens of the video camera and create shots enriched with shallower DOF and variable angles of view. The use of prime lenses also creates slightly softer edges, moving another step away from the crisp “video” look.
One of the few drawbacks of the adapter is that its additional weight and rods make it an unlikely option for handheld documentary and reality-based shoots. Unless the focus for the prime lenses can be mechanized for steadicam or handheld use with assistance of a focus puller, the filmmaker is still restricted to stationary tripod and dolly shots. But a documentary’s aesthetics are still greatly enlivened by the new choices with a lens adapter, and can create a photographically lush interview shot or enrich a simple B-roll shot with a clean rack focus.
Another consideration of the adapter is that the image is rotated 180 degrees before it reaches the camera and viewfinder. There are optional image adapters available that insert between the videocamera and the lens adapter, and flips the image right-side-up before it reaches the chip and viewfinder. With the image adapter, the video is viewed, recorded, and captured right-side up. Without it, the cameraperson must adjust to seeing the image upside down. If the camera’s settings allow, you can flip the image in the viewfinder. Or you can connect a lightweight external monitor and set the monitor upside-down. But the video must be rotated 180 degrees in post-production. The rotation can be automated, but it is another step added to the workflow.
These new tools further bridge the gap between video and celluloid filmmaking, but it isn’t an inexpensive solution. Lens adapters on the market are made to fit specific brands of SLR prime lenses, including Canon, Nikon, Minolta, Pentax and Olympus. The current retail price range is $800-$5000. There are also popular DIY solutions available online, as well as enthusiasts who custom make them for a more economical fee, but with no warranty. Regardless of the adapter chosen, the filmmaker needs to own or access the prime lenses that fit the brand for the selected lens adapter. Upcoming part two of this article reviews some of the popular lens adapters on the market and the DIY option.
-Robin Laverne Wilson