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.
Continue reading “Canon CINE SERVO 11-55mm T2.95 – Built for Broadcast, Ready for Cinema”
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.
Continue reading “HEKTOR: New Inspired Primes from Leitz Cine”
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.
Continue reading “Sigma Launches AF Cine 28-45mm T2 FF Zoom”
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”
Laowa has added a long-awaited piece to their expanding ultra-wide cine arsenal: a factory-built PL-mount version of the 10mm T2.9 Zero-D VV Cine. With support confirmed for professional motion picture cameras, this release rounds out what is arguably one of the most complete ultra-wide full-frame prime sets in recent memory. But while the optics remain unchanged, the mount matters.
Continue reading “Laowa’s 10mm Zero-D Cine Prime Gets a PL Mount”
Tokina has expanded its character-forward “Portrait” edition of the Vista-P lineup with a new 180mm T1.9—the series’ first telephoto focal length. Pre-orders are now open, with shipments expected to begin in October 2025. Here’s how it fits into Tokina’s growing cinema lens ecosystem.
Continue reading “Tokina Caps the Vista-P Line With New 180mm T1.9”
SIGMA’s latest foray into high-end cinema optics comes with a respectable technical achievement. The newly announced Aizu Prime Line is not just another set of fast cine primes. It’s the first complete set of full-frame T1.3 cinema lenses, an achievement that places SIGMA in rare company and challenges long-standing norms in lens design.
Continue reading “SIGMA Aizu Primes: A Love Letter to the Art of Cinematography”
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”
DZOFILM is no stranger to high-speed glass. Their original Arles T1.4 primes offered a technically sharp, mechanically sound set of modern cine lenses that made few artistic claims but plenty of practical ones. Now, with the announcement of the Arles Lustre series, DZO takes a different tack—aiming straight for the hearts (and eyes) of cinematographers chasing mood, texture, and a brushstroke of nostalgia.
Continue reading “Impressionist Cinema: DZO Announces the Arles Lustre Primes”
Cine primes with unique character have always carved out a niche — sometimes out of necessity, sometimes out of nostalgia. TTArtisan’s new 35mm T2.1 Dual-Bokeh Cine lens seems to fall into both camps. Priced at just $380, this full-frame lens dares to embrace imperfection in a market where even budget glass often aspires to be unremarkably “correct.” But it’s not the usual aberrations or swirly backgrounds that make this lens stand out — it’s the switch.
Continue reading “TTArtisan 35mm T2.1 Cine: Dual-Bokeh?”
NiSi is set to expand its footprint in the cinema lens market with the introduction of the new Aureus Prime series—full-frame, T1.4 cinema lenses designed for uncompromising image quality and professional workflows. The new line builds on the momentum of the Athena Primes, which launched in 2023 with focal lengths from 14mm to 85mm and later grew to include 18mm, 40mm, and 135mm options. That series quickly established NiSi as a serious player among filmmakers seeking sharp, consistent optics and solid mechanical design at a competitive price point.
Continue reading “NiSi Raises the Bar with New T1.4 Aureus Primes”
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!”