a blog by Matthew Duclos
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.
Continue reading “A New Dawn: Laowa Sunlight Anamorphic Zooms”
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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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.
Continue reading “Leitz Expands Hugo Line: Adds 40mm T1.5”
It’s late in the afternoon and I am sitting at my desk casually culling images for upcoming posts when I suddenly get called out to the service room. I walk in to see Michelle and Paul Duclos standing around a plastic bag on the desk with strange looks on their faces and pointing at me to open it. As I pull the plastic off, I come to realize what has them taken aback. A sad sight. Placed in the bag was a Canon K35 zoom that was completely caked with mushy deteriorated foam the same texture and stickiness of a toasted marshmallow.
My first thought: This is going to make a great story. The second: I need gloves.
Continue reading “A Sticky Situation: How to Properly Store Cinema Lenses”
When you hear the name Laowa, what’s the first thing that comes to mind? Normally, and I’ll say this with the utmost respect, weird lenses. Laowa always goes against the norms, choosing innovation over following trends. They consistently deliver tools that at first seem niche or strange, but quickly prove themselves as must-haves once you see the results. I’ve always appreciated that approach. It’s a bit like that middle-school idea that not trying to be popular ends up making you stand out anyway.
Now comes the Laowa 8-15mm T2.9 Fisheye Zoom, their latest ultra-wide cine lens, and a potential game-changer for AR and VR creators. This lens fills a noticeable gap left by a certain lens with a red ring, which was widely used in immersive production workflows. The question is whether this new Laowa offering is simply trying to replicate what came before, or if it’s pushing things forward on its own terms.
Continue reading “Mind-Bending Perspective: Laowa’s New 8-15mm T2.9 Zoom Fisheye”
Canon has long been a trusted name in both photography and cinematography, but it’s been a while since we’ve highlighted any new releases from the brand. The last time we dove into their products, it was nearly two years ago, with the CN-E Flex Zoom lenses. Since then, Canon has been relatively quiet, especially as other brands have adapted to the mirrorless market. However, Canon recently launched the VCM L hybrid lenses, a series designed with promising features that could be particularly useful for video creators. The question is, how do they hold up for filmmaking, and more importantly, can they be Cine-Modded?
Continue reading “Canon VCM L Lenses for Filmmaking: A Complete Review for Hybrid Video Creators”
Laowa, a house-hold name for a manufacturer of unique lenses has once again released something that promises to bring big screen worthy gear into the hands of the everyday filmmaker. Enter the Proteus 2x Anamorphic Zooms. Covering an almost 3x zoom range across the 26-45mm T2.9 and the 45-85mm T2.9 is meant to give filmmakers plenty of versatility to tackle any creative project head on. Again, Laowa has made lens options like anamorphic zooms available to the masses. Now, let’s zoom out to get the full picture.
Continue reading “Introducing: The Laowa Proteus 2x Anamorphic Zoom Series”
After a five-year hiatus and a slew of rumors suggesting that ZEISS was bowing out of the still photography market, they’re back with a bang. Enter the Zeiss Otus ML line—a reimagining of the beloved Otus family that promises to shake up the mirrorless camera world. Today they are unveiling two focal lengths: 50mm f/1.4 and 85mm f/1.4.
The Otus ML lenses are intended to push optics in this new generation of mirrorless cameras. The original Otus primes to this day remain at the pinnacle of optics so the question is: Can the new iterations compare? Buckle up, this is going to be a long one.
Continue reading “ZEISS Otus ML: The Return of Legends, Now for the Mirrorless Generation”
In the fast-paced world of filmmaking, particularly on tight and chaotic sets, every second counts. That’s why the introduction of the Bun-G-Ring, a new filter-mounting system, could offer some relief—at least for those frustrated with the time-consuming task of taping filters in place. While not exactly a revolutionary new category of equipment, the Bun-G-Ring promises a more secure, faster, and reusable solution for mounting filters to your lens—no tape required. The question is, does the industry really need yet another filter system, or does the Bun-G-Ring offer something uniquely useful, particularly for documentary filmmakers?
Continue reading “The Bun-G-Ring: A New Way to Mount Filters?”
Macro filmmaking has always been about precision, detail, and the ability to capture extraordinary shots up close. But there’s been a catch: the probe lens, a tool designed for extreme close-ups, often requires filmmakers to compromise on flexibility. Until now. With the launch of the DZOFilm X-tract 18-28mm T8 FF Probe Zoom, the game has changed. This innovative lens combines the best features of both a probe and a zoom lens, opening up new creative possibilities for filmmakers and content creators alike.
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Rarely does a lens series come along that stays in my mind for long. When a new cine lens entry hits the market, and there have been many this year, I’m always excited. A spark of excitement and that deep “Lens Geek” obsession sets in. I don’t want anyone to think I’m not interested in the other releases this year, but as time passes, one set in particular has managed to live rent free in my head. Enter the Thypoch Simera-C primes.
Released in October in E-mount variants, these primes made a surprising splash, and now with the release of M-mount versions, their impact is set to grow even more. We’ve already covered the Simera-C on our social media and posted an article about the newly released 21mm T1.5 earlier this month. But this M-mount release presents the perfect opportunity to revisit them — and maybe ease their hold on my mind
Continue reading “The Thypoch Simera-C: Now In M-Mount”
The Laowa Sword Full-Frame Cine Macro Series has arrived, offering filmmakers and cinematographers a new tool set of lenses designed to deliver close-up shots with fine detail and clarity that will pull audiences into the scene. This six-lens lineup—ranging from 15mm to 180mm—allow the cinematographer creative freedom to focus on the tiny details that make the story come alive on the big screen.
Continue reading “From Tiny Textures to Big Stories: The New Laowa Sword Macro Cine Lenses”
The world of cinema lenses continues to evolve, with filmmakers increasingly demanding smaller, more versatile lenses without compromising optical performance. In response to these demands, Thypoch introduced the Simera-C Line earlier this year to try to meet those needs. Originally released as stills lenses in various mirrorless and Leica M mounts, they transitioned over for use in cinema. And now they continue to the transition by adding the new 21mm T1.5, expanding its already impressive range of cine primes. This new ultra-wide-angle lens joins the Simera-C lineup, which already includes the 28mm, 35mm, 50mm, and 75mm models. With its compact design, cinematic aesthetics, and exceptional performance, the Simera-C 21mm T1.5 promises to be a valuable addition for filmmakers and content creators alike.
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Over the past year, a fresh batch of exciting lenses has emerged, adding new flavors to the ever-evolving lens industry. While these releases have certainly stirred the pot, as the saying goes, the technique you use can make all the difference in the final dish. Now, Sirui enters the scene with their bold campaign for the 40mm T1.8 1.33x AF Anamorphic Prime, leaving us to wonder: Will this new ingredient enhance the overall recipe, or will it be a flavor that fades into the background?
Don’t worry there are no more references to food going forward.
Continue reading “The Sirui 40mm T1.8 1.33x is Anamorphic AF”