Canon 50mm "Dream Lens" • Filming at f/0.95
I’ve had the opportunity to film with a Canon 50mm f/0.95 lens dubbed the “Dream Lens” on several commercials over the past year. I became obsessed with figuring out a way to work with it almost a decade ago. However, it was near impossible to match the lens to a camera body that could pair with it. The lens typically had a Lecia M mount, which couldn’t be adapted to PL mount camera bodies. And I certainly didn’t have the money to buy the expensive lens in addition to paying for a camera body’s lens mount modification. Fortunately over the last few years many camera houses are rehousing this particular lens to work with LPL mounts. The fact that Zach Snyder used it primarily for Army of the Dead may have encouraged more businesses to take on this financial endeavor.
With a simple web search one can find the interesting history of this lens. But… what I find very little of online is moving image examples. Perhaps the commercials shared below will provide insight when considering the use of this lens on your future projects. .
For these commercials, each Director had different reasons for utilizing it’s aesthetic. And in both instances, the personality of the lens shot wide open offered boundless opportunities for visual expression
CAMERA SPECS
camera • ARRI ALEXA MINI LF
codec • Arri RAW
resolution • 4.5K LF 3:2 Open Gate
lens • CANON 50mm f/0.95 “Dream Lens”
Every shot in this spot was captured with the 50mm. The background paradise setting was important to present an environment of relaxation; while the lens’ narrow depth-of-field was key in creating a sense of seclusion for the character within that environment.
Director ADAM RICHARD JONES
Camera provided by HAWAII MEDIA INC.
Lens provided by FREESTYLE CINEMA RENTALS
Color by Ryan McNeal at RKM STUDIOS
CAMERA SPECS
camera • ARRI ALEXA MINI LF
codec • PRORES 4:4:4:4
resolution • 4.5K LF 3:2 Open Gate
lens • CANON 50mm f/0.95 “Dream Lens”
CANON FD 14mm, 24mm
The feeling of inner calm and self reflection was the visual mantra for this spot. And the use of sun flares as transition points were integral to the edit. Even though the spot is mixed shots between the “Dream Lens” and Canon FD’s, sliver thin depth-of-field and rainbow flares are tell-tale signs of which lenses are which.
Director ROSS ALLEN
Camera provided by PRENDERHOUS
Lenses provided by VAULT RENTALS
Color by CLINTON HOMUTH at Artjail