We’ve all been there – it wasn’t an easy decision to shoot an observational documentary with primes, but after taking the plunge and selecting a focal length everything seemed to be going well – until the scene took an unexpected turn 😱
Suddenly, you just can’t get to where you have to be to frame the action as close or as wide as necessary. You desperately need to change the lens, but the action is too interesting or important to be interrupted. You just don’t have the time to swap lenses, so you carry on knowing that the shots you’re getting are just not the right ones for the situation you’re in.
You are suffering from lensanxietyTM, and the only cure seems to be to use a zoom next time. It may by too large, too heavy, too slow and, most important of all, just doesn’t have that cinematic look you crave, but at least it gives you the flexibility to frame the shot properly.
Our predecessors behind the camera already had a solution for this problem: the lens turret was standard on Arri cameras in the 1950s and 60s. With it, you could switch instantaneously between three different focal lengths
Canadian cinematographer
Ian Kerr csc has reinvented
this idea and adapted it for
use with modern cameras
I was so fascinated, I had to
own one myself!
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After performing tests and using the turret on a documentary shoot, I can confirm that the system works really well and unites the aesthetics of prime lenses with the ability to change the focal length in a moment.
The turret is available for rent. If you are in Berlin and would like to test drive the system, just drop me a line.
It is compatible with Sony FX9 and Burano, but not with FX6 or FX3. I recommend renting the entire system including camera, lenses and accessories, as I have carefully selected and matched all the components and can guarantee that my system will perform smoothly. But if you prefer to use your own camera or lenses, I also hire out the Vertigo on its own.
The turret has 3 EF-mounts. I shoot with DZOFilm Vespid Primes, but you can also use any other EF-mount lenses provided they meet the following criteria:
– fully manual, including the iris, as there is no electronic communication between mount and camera
– front circumference no larger than 90mm, otherwise the lenses do not fit next to each other. This excludes a number of popular choices, such as Canon CN-E, Zeiss CP2, Sigma Cine FF, Rokinon Xeen
This is the configuration I use myself and also offer for rent:
Sony FX9
– Tilta cage & Shape handle
– 4 x 240GB XQD-cards, card reader
– 4 x BeBop V150 batteries, 2-channel charger
– Rode NTG2 camera mic
– Camrade Run’n’Gun bag, Camrade rain cover
Vertigo Multiturret
– Arri CSP-1 shoulder pad
– Sachtler ACE base plate
– 2 x 15mm rods with ¼“-screw
DZOFilm Vespid Primes Set
16mm/2.8, 25mm/2.1, 35mm/2.1, 50mm/ 2.1,
75mm/2.1, 100mm/2.1, 125mm/2.1
With this configuration it is possible to switch quickly between hand held and tripod mode. It is, however, not compatible with the VCT-14 quick release plate or with Sachtler fluid heads. I use an O’Connor 1040. Other tripods with a similar quick release system such as Manfrotto will probably also work, but I have not tested any. If you wish to use a different base plate or shoulder pad I strongly recommend testing the configuration in advance, as many models are not compatible with the Vertigo
So if you would like to experience unprecedented flexibility
when using primes on a doc shoot, please contact me.
e.Mail, WhatsApp, Signal… take your pick, or just call my number!
I will take the time to guide you through the system and help you select the best configuartion for the job on hand.