a blog by Matthew Duclos
The legend of the Angenieux 12x zoom is one that most cinematographers know by heart. Since the original 24-290mm T2.8 first landed on sets, it has been the gold standard for long-range cinema zooms. With the introduction of the Optimo Ultra 12x 65, Angenieux is expanding that legacy to the medium format market in more than one sense of the word with a truly impressive bit of optical engineering that packs a massive punch.
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Framing charts aren’t particularly exciting, but they’re one of the more useful tools you can have on hand during camera prep. At Duclos Lenses, we produce high-quality, purpose-built focus, distortion, and framing charts for professional use. They’re designed, printed, and finished in-house to be consistent and reliable across repeated tests. But that process takes time and attention to detail. There’s design, printing, curing, prep, etc. …none of it is instant. And occasionally, a project comes up where you just need something now. Duclos FrameGen started as a way to fill that gap.
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Canon has officially introduced the Cine-Servo 40-1200mm T5.0-10.8, a new ultra-telephoto zoom that expands the company’s long-running Cine-Servo philosophy in a meaningful and ambitious direction. Framed by Canon as “Your Vision, Extended” and promoted as offering an “extraordinary zoom range in a compact footprint,” the lens is clearly designed to capture attention while reinforcing Canon’s position in the hybrid broadcast and cinema space.
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There’s something inherently bold about launching a new lens series with a 16mm, especially when that lens is designed to cover a 65mm image circle. NiSi’s latest announcement, the 65 PRIME 16mm T2.9, isn’t just another ultra-wide. It’s a statement of intent. And having seen an early prototype firsthand, it’s one that carries more weight than you might expect.
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There’s a fine line between innovation and indulgence in the world of cinema optics. Every so often, a new “look” emerges – not from the meticulous engineering of glass and coatings, but from the collective mood of an industry chasing something intangible. Character. Texture. Imperfection. Or, as it’s now being called – vibe. This year, Duclos Lenses leans into that ambiguity with the introduction of a groundbreaking new product.
Continue reading “Duclos Lenses Develops New Synthetic Coating Technology”
DZOFilm’s new Arcana series enters an increasingly crowded anamorphic market with a familiar promise: deliver cinematic character without the traditional tradeoffs. Compact, lightweight, and relatively affordable, Arcana positions itself as a practical alternative to larger, more demanding anamorphic systems. The real question is not what it claims to do, but how much of the anamorphic experience it actually preserves in the process.
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NiSi’s Athena primes earned attention by offering a clean, modern cinema lens platform at a price point that made sense for owner-operators, small productions, and growing rental inventories. The Athena Rewind series builds on that same foundation, though it is more accurate to describe these lenses as a modified version of the existing Athena primes than as an entirely new lens family.
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Zeiss has announced the new Aatma Primes, a nine-lens full frame T1.5 cinema set that places the company squarely back into the conversation around vintage inspired optics. Covering focal lengths from 18mm through 135mm, Aatma is positioned as a more character forward option within Zeiss’ modern cinema lineup while retaining contemporary mechanics and workflow compatibility. In a market already dense with lenses aimed at nostalgia, Aatma presents an important consideration. Is this a meaningful refinement of Zeiss’ recent direction, or simply another option competing for attention?
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Venus Optics has introduced the Laowa Sunlight 2x Full Frame Anamorphic Zoom Series, designed to make anamorphic filmmaking more versatile and accessible for full-frame users. Building on the success of the Laowa Proteus primes, these new zooms deliver the classic anamorphic look in a compact and lightweight form factor that’s easier to manage on set.
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Vintage camera lenses from the mid-20th century often develop a yellow or brown tint as they age. This “yellowing” results in a warm color cast and reduced light transmission, impacting image quality. At Duclos Lenses, our technicians frequently encounter this issue in classic optics across a wide variety of lens brands. This article endeavors to explain the technical causes of lens yellowing and outlines the process of de-yellowing – the restoration of clear glass – using ultraviolet (UV) light. We will delve into the physics behind the discoloration, the UV treatment procedure (sometimes called annealing or bleaching), as well as the associated effects, risks, and benefits. The intended audience is lens technicians and engineers, so we will prioritize scientifically grounded knowledge over speculative or anecdotal information.
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At Duclos Lenses, we have always had an eye for glass that goes beyond the look. There’s always more than meets the eyes when it comes to optics and we have an eye for spotting potential. Some might say we are optics experts. Canon’s newly announced CINE SERVO 11-55mm T2.95-3.95 PL and RF is reminiscent of a broadcast lens, but this servo is ready to rock cinema. With wide coverage, great resolving power, and suite of professional luxuries, this lens opens the door for creatives who need versatility with little compromise.
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Leitz Cine has announced their newest lens line: the Hektor Primes, a six-lens set designed for today’s mirrorless cameras. Compact, consistent, and unapologetically character-driven, the Hektors represent a notable shift for Leitz Cine as they step into a price bracket and design philosophy aimed less at rental houses and more at working cinematographers who want artistry without sacrificing reliability or build quality.
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Sigma has officially pulled the curtain back on the 28-45mm T2 FF, the first release in its brand-new AF Cine Line. Launching November 6, 2025, this lens is more than just another short zoom; it’s Sigma’s declaration that autofocus has a place in professional cinema production. Available in L-Mount and Sony E, the 28-45mm arrives with cine-style mechanics, the optical pedigree of Sigma’s Art series, and a high-response linear actuator for fast, near-silent autofocus. For Sigma, this is both a technical showcase and a philosophical challenge to decades of manual-only cinema tradition.
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The Vespid II primes arrive with more than just a fresh coat of paint. DZOFilm has taken the core appeal of the original Vespid series and supercharged it with faster apertures, metadata support, and a refined lineup built for modern filmmaking. These lenses are not simply a sequel, they are a bold statement that DZOFilm is listening to creators and pushing their designs into territory once reserved for higher end cinema glass.
Continue reading “DZOFilm Vespid II Review: Speed, Metadata, and a Bold New Lineup”
Leitz Cine quietly expanded its HUGO series this week with the announcement of a brand new 40mm T1.5 lens. Revealed on August 25, the addition rounds the set out to a total of 14 focal lengths spanning 18mm through 135mm.
The HUGO series quickly grabbed attention among cinematographers for the pleasing rendering they impart on the image and as more robust build than the M 0.8 primes that they replaced. Much of the glass in the series comes from Leica M rangefinder optics, known for their signature character and natural falloff toward the edges. While Leica does not currently make a 40mm in their M line, this lens was developed with support from Leica Camera designers to ensure it matched the spirit of the series.
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