Case Studies

Case Studies

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My Mamiya 645 Lenses - Nathan Thompson DOP - In his own words.

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In the film business, you know how fast things move and how valuable time is. From the moment I asked TLS about their one-of-a-kind Mamiya 645 rehouse, I received prompt and consistent care. The demand for rehoused optics is immense, so I was shocked when they completed the rehouse in just 6 months. Especially when many current waitlists encompass years of waiting. The entire process left me feeling prioritized and informed.

When we received our Mamiya 645 lenses back we were absolutely astonished! On the exterior, the housing was stylistically designed with silver and green accents that set the lenses off. Even with the added speed booster, the lenses' weight and sizing were light and compact. The focus and iris barrels were super smooth, while still retaining the tiniest bit of resistance to nail a mark.

My Mamiya 645 lenses were already some of the fastest medium format lenses made at f2.8. TLS rehouse took these special lenses to a new level, turning most of the lenses into a T2.3 and the 57mm (80mm f1.9 before the rehouse) into an impressive T1.6. The ability to utilize the full medium format image circle, get an extra stop of light, and avoid the hectic stills lens housing has breathed new life and possibilities into this set.

It's a challenge to find lenses that exhibit sharpness and character at the same time. Many vintage lenses are too soft or wild for some commercial projects. But the Mamiya’s tick all the boxes for me. They're sharp, without being clinical. They flare beautifully, but they're easy to control. They cover any sensor you can throw at them. They're lightweight, light-sensitive, and full of texture.

TLS is providing some of the most professional, innovative, and impressive services in the world of cinematography. I attribute to TLS my highest degree of praise and respect.

Filming Pilot Travel Centers Commercial

See images below that were taken during filming a commercial for Pilot Travel Centers, in Albuquerque, New Mexico, where I was DOP. The commercial was shot on a Sony Venice in 6K Raw with the Mamiya 645 speed boosted lenses. Their impressive sharpness allowed me to shoot with a Rota Pola, 1/8 Hollywood Black Magic, and Black Satin 1 without any concerning resolution loss. The aim was to give this gas station's unveiling a human touch and a commercial look. Thanks to the Mamiya lenses and some creative storytelling, we gave the commercial a polished cinematic appearance that would have otherwise risked feeling stark and stale.