a blog by Matthew Duclos
DZOFilm has expanded its X-tract lineup with a new addition: the X-tract 90° 18-28mm T8 FF Probe Zoom. Unlike the original straight probe model, this version features a 90-degree bend, allowing for different shooting angles without requiring elaborate rigging. While the overall design and optical formula remain similar, the angled approach introduces some key differences that may be useful for certain applications.
Continue reading “DZOFilm Launches Another Probe Zoom, With a Twist!”
Tokina has announced its latest addition to the Vista Prime lineup—the Vista-C. This new variant aims to deliver a more vintage-inspired aesthetic with controlled contrast, unique flare characteristics, and a slightly less uniform image while maintaining the high resolution and T1.5 speed that define the Vista series. But does this really introduce something entirely new, or is it simply a refined iteration of an already solid lens platform? Let’s take a closer look.
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The news that Cooke Optics is ceasing production of the S4/i prime lenses is, for many in the cinematography world, like saying goodbye to an old friend. For over two decades, the S4 series has been a benchmark of optical excellence and mechanical precision. Its contribution to the art of visual storytelling—and its role in defining what we now universally recognize as the “Cooke Look”—can’t be overstated.
Continue reading “Cooke Retires S4 Series After 20+ Years of Excellence”
Laowa has unveiled its Nanomorph 1.5x LF Anamorphic series, designed to cater to filmmakers seeking full-frame anamorphic lenses at a competitive price point. Promising professional-grade optical performance, the Nanomorph LF lineup introduces compact, lightweight lenses with a consistent 1.5x squeeze ratio and customizable flare options. Here’s a detailed look at what these lenses bring to the table.
Continue reading “Laowa Introduces 1.5x Full Frame Anamorphic Primes”
NiSi, a manufacturer of high-quality filters and lenses, has recently unveiled a limited-edition series of prime lenses, the Athena Tuned. These lenses are a unique twist on the popular Athena series, offering a more vintage-inspired aesthetic.
Continue reading “NiSi Announces Athena Tuned – Now With Character!”
The Zeiss Contax lenses, first introduced in the 1970s, have earned a reputation as some of the most desirable vintage optics for modern filmmakers. Designed for still photography, their renowned T* coatings and sophisticated optical design have garnered a loyal following among those seeking a distinct, organic image quality. Often referred to as the “full-frame Super Speeds,” these lenses marry pleasing sharpness with a unique character that sets them apart from today’s clinical modern glass. Now, with a new rehousing by True Lens Services (TLS), these legendary lenses are ready to take their place in the world of professional cinema.
Continue reading “TLS Introduces Zeiss Contax Rehousing”
Sirui, a company known for its affordable yet innovative optics, has ventured into the autofocus (AF) market with its first full-frame autofocus lens—the Aurora 85mm f/1.4. Priced under $500, this lens is clearly aimed at budget-conscious portrait photographers, offering a combination of wide aperture, eye autofocus, and portability. However, its specifications and features raise the question: could it also have some potential in cinematography, particularly for low-budget or hybrid shooters?
Continue reading “Sirui Aurora 85mm f/1.4 AF: A Portrait Lens with Cinematic Potential?”
Cooke Optics has re-entered the large-format cinema scene in a big way, launching the Panchro 65/i series, specifically crafted for true 65mm digital sensors. The series harks back to Cooke’s early commitment to large format in the 1950s, when it produced lenses for both VistaVision and 65mm film formats, seen in films like Vertigo (1958) and To Catch a Thief (1955). Now, with 65mm imaging back on the digital radar, Cooke’s Panchro 65/i aims to bring the magic of its classic Speed Panchros to today’s larger format.
Continue reading “Cooke Optics Teases Upcoming 65 Format Primes”
Zeiss has just unveiled significant updates to its CinCraft suite, rolling out CinCraft Scenario 2.1 and CinCraft Export 2.0. For users immersed in the demands of virtual production and VFX-heavy workflows, these enhancements will appeal to professionals in the field of control in camera tracking, lens calibration, and post-production alignment. Let’s break down what each update brings, particularly focusing on Scenario 2.1’s new manual spherical lens calibration.
Continue reading “Zeiss Releases Software Updates for CinCraft”
Schneider has launched the Classic ND filter line, built to address some key needs in today’s digital cinema landscape. Available in the widely-used 4×5.650” size, the Classic ND filters are made with high-grade, multi-coated water white precision optical glass. Schneider claims this new lineup offers accurate color rendering across densities, effective IR pollution control, and a durable anti-reflection coating.
Continue reading “Schneider Introduces Classic ND Filters: A Modern Solution”
Nikon’s upcoming NIKKOR Z 28-135mm f/4 PZ (Power Zoom) lens is aimed squarely at the filmmaking community, marking another step in the company’s ongoing efforts to cater to video professionals. While Nikon has long been a key player in the world of photography, this lens represents their latest attempt to break into the cinema lens market. However, a closer look reveals a mix of promise and potential areas for improvement.
Continue reading “Nikon Announces New 24-135mm f/4… Cine Lens?”
ARRI has introduced the Ensō Prime series, a collection of large-format cinema lenses tailored for high-end digital productions. These lenses are built to deliver outstanding optical performance while offering flexibility in design and creative control for cinematographers. With focal lengths ranging from 10.5mm to 250mm, the Ensō Primes cover a wide range of shot requirements, making them a versatile addition to any production. The core set, which includes 18mm, 24mm, 32mm, 47mm, 75mm, and 105mm lenses, all feature T2.1 apertures and LPL mounts for compatibility with ARRI’s LDS-2 and Cooke /i lens metadata systems.
Continue reading “ARRI Introduces Ensō Primes”
On Wednesday, October 30th, from 1:00 PM to 5:00 PM, ARRI is hosting an open house at their Burbank location to showcase their brand-new Ensō Prime Lenses. This hands-on event will be a must-attend for cinematographers and filmmakers looking to get their hands on these new optics from Arri.
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Venus Optics—or as most of us know them, Laowa—has announced the upcoming global launch of its latest cine lens, the Laowa Ranger 16-30mm T2.9, scheduled for October 22, 2024. This new addition to Laowa’s Ranger Full Frame series offers cinematographers a lightweight, wide-angle option designed for professional use in nature documentaries, automotive shoots, and tight-space environments.
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Hey everyone! It’s that time again, and I couldn’t be more excited to announce DCS 2024 Cine Lens Day! Get ready for a day packed with lens talk, cutting-edge gear, and some serious networking. If you’re a fan of cinema optics (who isn’t?), you’ll want to mark Saturday, November 9th on your calendar. This event is shaping up to be bigger and better than ever, so let’s dive into the details.
Continue reading “DCS 2024 Cine Lens Day Registration Open!”