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Which clippings match 'Zoom Lens' keyword pg.1 of 1
11 MARCH 2011

New technical possibilities: synchronous recording of sight and sound

"In the late 1950s major breakthroughs began to occur in the technology available to filmmakers. These occasioned what can be thought of either as something totally new under the artistic sun or merely as new ways of doing old things. What they permitted was the synchronous recording of sight and sound outside the confines of soundstages and studio back lots. Virtually anything that could be seen and heard could now be captured on sound film almost anywhere. These new technical possibilities did not dictate the uses to which they would be put, however. One of those uses was that of the Americans who called what they were doing direct cinema. Another was that of Frenchman Jean Rouch, who coined the term cinema verite (film truth) to apply to his own work."

(Jack Ellis and Betsy McLane, 2005, p.208)

Jack Ellis and Betsy McLane, A New History of Documentary Film, (2005), 208–325.

Fig.1 Albert (right) with David Maysles on the set of 'Grey Gardens' (1975).



16mm1950s3-lens turretAlbert Maysles • Arriflex • audio recorderauthorshipcamera technologycapturecinema veritecinematographyconvergencecreative practiceDavid Mayslesdevicedirect cinemadocumentaryDonn A. Pennebaker • Drew Associates • FFL • film truth • filmmakers • fixed focal length • history of cinemainnovationJean Rouch • lightweight • Nagranew technical possibilities • primary focal length • prime lens • realismRichard Leacock • Robert Drew • sight and sound • solution • sound film • soundstage • synchronous recording • technology • telephoto lens • Terrence McCartney Filgate • truthvisual depictionvisual languagezoom lens


Simon Perkins
30 NOVEMBER 2010

NEX-5 Sony SEL18200 (18-200mm) Zoom lens

"The build quality of the Sony 18–200mm OSS is excellent. In a sea of cheap plastic extreme zoom lenses it really stands out with its stylish metal body and everything is tightly assembled. The focus ring operates exceptionally smooth. The lens has no focus distance indicator/window. The rubberized zoom ring turns smooth but it's also bit stiff which also helps to suppress zoom creeping. The lens has a duo–cam design so it uses two inner lens tubes to extend the lens towards longer focal lengths. The front element does not rotate so it's suitable for using polarizers. A lens hood is also part of the package. ...

The Sony E 18–200mm f/3.5–6.3 OSS is a refreshingly different approach compared to most of the competition. It's not a purposely under–designed lens for cost–cutting measurements. This is most obvious with respect to its build quality – the stylish metal body clearly stands out from the rest of the crowd and it's a joy to handle it in the field despite the somewhat unusual/odd proportions compared to the tiny NEX camera. The optical quality is on a very decent level. It is not a flawless lens, of course, but the resolution figures are very fine in the lower portion of the zoom range and still good beyond. The distortion characteristic is about average for a lens in this class. The Sony lens produces a surprisingly low amount of vignetting even at 'large' aperture settings (even in RAW images). The primary weakness of the lens are the lateral CAs at 18mm and 200mm although that's also rather typical for such lenses. The Sony lens is a pretty obvious choice for those seeking a one–lens–solution. The resulting package size may not be pocketable but, to be honest, neither is the 18–55mm f/3.5–5.6 OSS. The 18–200mm f/3.5–6.3 OSS is not a cheap lens (neither is e.g. the Panasonic 14–140mm OIS) but it's worth it ... if you can find a decent sample."

(Klaus Schroiff,




18-200mm • 18-200mm OSS • 2010 • build quality • camera • compact system camera • deviceDSLRE-mount • E-Mount lens • Lens • NEX seriesNEX-5 • optical quality • Optical Steady Shot • OSSphotography • SEL18200 • SonySony AlphaSony NEX series • Sony SEL18200 • telephoto • telephoto zoom • unboxing • vignetting • zoom lens


Simon Perkins

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