a blog by Matthew Duclos
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!”
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?”
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.
Continue reading “Tokina Introduces Vista-C Primes”
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.
Continue reading “Introducing: DZOFilm X-tract 18-28mm T8 FF Probe Zoom”
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 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”
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.
Continue reading “Thypoch Launches the Simera-C 21mm T1.5”
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”