These lenses have an image circle sufficient to cover Vistavision/Full Frame 35mm. The Leica R lenses (Summilux and Summicron) were never intended to be used for cinema, they were built as SLR lenses, but that didn't stop Cinematographers from finding a way to use their superior edge-to-edge sharpness and low-contrast look to shoot motion pictures. I constantly shoot actress close ups on that lens even if I have Leica C, Cookes, or Master Primes on set. Though I find most modern lenses too sharp, it works for commercials and branded content. All three sets have a nice clean commercially sharpness. Usually in my commercial work these days I go with more modern glass, I alternate Leica C lenses, Cooke s4, or Schneider Xenar III lenses (which are super under rated). They are so soft it's hard to tell if they are fully sharp so I usually rate them at a 4 or 5.6, for a little extra sharpness. The only drawback to them is they are hard for the focus pullers. They have this incredible softness and flare. The Canon K35's have become my go to lens set when I'm shooting narrative. Leica gave me the vintage lens bug in a big way. Lensing has become one of my favorite creative choices now. Putting the camera right near the actors on that lens makes you feel like you are sitting right there with them, it's distortion is very minimal, the lens breathing across the whole set is incredibly minimal, they breath far less than more expensive glass like CP.2, and the Canon CN-E lenses.Īs I've gotten older, the budgets have gone up quite a bit. While the 19mm is a lens I've started using for certain close up work. The 90mm has an incredible sharpness even wide open but somehow it still feels forgiving on skin. In fact my first Indy feature I would say I used those 2 lenses 80 percent of the show. I could shoot an entire feature on those two lenses pretty easily. My favorite lenses in the set is my 19mm, and my 90mm. I love that old Leica look they have an incredible warm roll off, and these full wash flares that I love. I didn't expect much since they were so low cost, but when I started putting them through the paces I quickly fell in love. When I first bought them I had very little or no experience with Leica's and my work at the time didn't have much budgeted for lens sets. I basically bought a set for cheap at the time a year after I decided to be a full time DP. I have owned a set of Leica R lenses for 9 years now. Leica Rs have been very popular on super 35mm sensors, and I think they will really impress people when used on full frame sensors. I happen to prefer the Summilux 35mm, 50mm and 80mm, not just because they are faster, but because I prefer the bokeh and flare character of the faster lenses. They didn't make faster versions of those focal lengths, so the set does not have as many fast lenses as a set of FDs or Nikons. Most sets will have either a 35mm, 50mm and 80mm Summilux primes (all f1.4) or Summicrons (f2). ![]() I think they are great option if you want something with a more interesting look then modern lenses, but don't want anything that might be too distracting, which makes them great for a feature film, as well as commercial work. They flare and ghost beautifully compared to more modern lenses. I love their overall color and contrast, and the way they render skin tones. Leica also has wonderful recipes for their lens coatings. Regardless, most of the Leica Rs you will find rehoused these days, are very well corrected, they are sharp, and they have extremely smooth, lovely bokeh. In fact some of the lenses in a set of Leica Rs could very well be from the 1990s depending on the donor glass chosen! Even in the 1960s Leica built lenses that were sharp and incredibly well corrected for aberrations. ![]() I disagree with this assessment completely. I have heard quite often that people associate Leica Rs with a soft, funky, vintage look. However I think there is some misinformation out there about Leica R lenses. Leica and Leitz are responsible for some of the most impressive lenses ever built.
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