What’s The Big Deal?
Schneider has, quite possibly, the most anticipated new cinema prime lenses soon to be available. Announced and revealed April 2013, the original set of three Schneider Xenon-FF primes which included at 35mm, 50mm, and 75mm, all with a consistent T-stop of 2.1, the Xenons are unique in that they are purpose built cinema prime lenses with a 35mm (24x36mm) format coverage at a very attractive price around $4k per lens. Feedback for the initial three was well received by Schneider with a return promise of more focal lengths. The initial three lenses are due to begin shipping Q4 2013, just a few months away, and Schneider already announced their follow-up focal lengths including a 25mm and 100mm, both T2.1. The two new primes offer an excellent complete set of primes all at T2.1 with excellent size and weight, not to mention Arri PL, Canon EF, or Nikon F mount. Schneider also hinted at a few more focal lengths to come including a macro and other focal lengths. This set of five primes is sure to be a hit among professional operators looking to own their own set of cinema prime lenses. Perhaps the perfect transition lenses for those coming from DSLR cinematography, and even those looking for a professional set of primes that doesn’t weigh a ton.
You can already pre-order the 35mm, 50mm, and 75mm from Duclos Lenses, scheduled to begin shipping very soon. The two newest lenses, the 25mm, and 100mm are scheduled for early 2014. Once more details such as price are revealed for the 25mm and 100mm, we’ll post more information.
The Original Press Release From Schneider
Below is the full press release from Schneider-Kreuznach or jump to it here.
The full-frame lens series comprises five fixed focal lengths: T2.1/35mm,
T2.1/50mm and T2.1/75mm will be available from the second half of 2013,
while a T2.1/25mm wide angle and a T2.1/100mm telephoto lens are due
to hit the shops in early 2014. The series will soon be expanded with a
macro lens and further focal lengths.
“This series of prime lenses has been especially designed for full-frame
sensors and meets users’ exceptionally high demands in terms of optical
performance and ease of use,” says Daniela Kesselem, product manager
at Schneider-Kreuznach. All lenses are suitable not only for Nikon and
Canon DSLR full-frame cameras with corresponding F or EF bayonet
mounts, but also professional film cameras with a PL-mount. All of the
lenses in the series are color-matched. Whether for commercials or
feature films, Xenon full-frame primes provide film makers with optimum
performance and reliability in all situations.
The full-frame lenses are designed for 4K resolution (4096 × 2304 pixels).
They can be used with standard professional cine accessories like rigs,
follow focus or matte boxes. Special features required for filming such as
minimized breathing, a harmonious bokeh or reduced stray light have
been optimized in the Xenon full-frame primes.
Further product features of all Xenon full-frame prime lenses include:
A standard aperture of T2.1 as well as identical external dimensions
and positioning of the controls in all lenses.
• A circular aperture with 14 blades to ensure a harmonious bokeh.
• Robust cine-style lens mechanics
• Manual, precise and reproducible focus settings with a 300° angle of rotation
• Larger focus and distance scales for easier focusing even with greater distances, readable on both sides
• M95 filter thread
• Exchangeable bayonet interface
Nice read – especially at a time when I’m tossing up between RPPs, CP2s or MiniS4s.
Kacey,
I can make your choice really easy. Forget the RPP, CP2 is the economical route, Mini S4 will give the best image, Schneider will be the most versatile (coverage/quality).
Thank you
With the dragon sensor coming to the masses will a lens design for 4k not work with people planning on shooting at 5 and 6k resolution. I’d hate to invest in a lens kit that sounds fantastic only to find it quickly obsolete
The answer to this question is somewhat vague Consider using any “4k” lens on a Nikon D800 which has an impressive sensor resolution of 7,360 x 4,912 pixels. That’s well beyond “6k” resolution and I wouldn’t say any modern lens doesn’t resolve well enough for the sensor. Obviously some lenses will be sharper than others, but there is no point where a lens will not resolve 4k, 5k, or 6k. Technically, in order for some folks to consider a lens 6k compatible, the resolution must be finer than each individual photo site. But this greatly depends on the sensor size and not just the resolution.
These lenses look nice… can you swap between EF and PL easily? Or you are stuck with one or the other?
I wouldn’t say any modern lens doesn’t resolve well enough for the sensor. Obviously some lenses will be sharper than others, but there is no point where a lens will not resolve 4k, 5k, or 6k. Technically, in order for some folks to consider a lens 6k compatible, the resolution must be finer than each individual photo site.