Sigma has just announced the development of a 14mm T2 and 135mm T2 prime lens. Based on the Sigma ART line of optics, these two new primes will join the already impressive 20mm, 24mm, 35mm, 50mm and 85mm . This news comes as no surprise to anyone who follows Sigma. The photo version of these lenses which were released earlier this year, seem like they were designed specifically to join the Sigma Cine family. They’re a welcome addition and render the Sigma Cine Primes a powerful option for cinematographers. Continue reading Sigma Fills Out Nicely with 14mm and 135mm Cine Primes
A favorite focal length of still photographers, and naturally of hybrid cinematographers bridging the gap between the worlds of still photography and motion picture, the new 70-200mm Compact-Servo is sure to be an ideal choice for the ultra-light documentary shooter. Canon’s 18-80mm Compact-Servo was announced about the same time last year, just ahead of NAB 2016. If you’re unfamiliar with the Compact-Servo line, imagine all the camera operators in the world using Canon’s L series still lenses. Now imagine half of them called Canon and complained that their L series lens doesn’t hold focus through the zoom and it doesn’t have integrated gears, and the focus isn’t reliable or repeatable… Then imagine Canon going to their engineers and explaining this – and that’s where we get the Compact-Servo zooms. Continue reading Canon Expands Compact-Servo Line with 70-200mm Tele-Zoom
Ahead of NAB 2017, Angenieux has announced another addition to the Optimo Style line of zooms – a 48-130mm T3. The 48-130mm features a 2.7x zoom range along with the other lightweight Optimo Style zooms, the 16-40mm and 30-76mm. It weighs 4.3 lbs and Angenieux states it is idea for hand held, steadicam and drones productions. Continue reading Angenieux Adds 48-130mm to Optimo Style Line
It’s no surprise that Cooke is joining the Full Frame revolution. They’ve cornered the market on stylized, romantic cinema glass and now they’re taking aim at the Vista Vision crowd to ensure the Cooke Look is carried over to just about any format out there. The new S7/i primes will cover an image circle up to 46.31mm which is slightly larger than standard Full Frame (hence the “PLUS” in the product name). Just ahead of NAB 2017, let’s take a look at the next big addition to the Vista Vision lens market from Cooke. Continue reading S7/i Full Frame Plus: Cooke’s Answer to Vista Vision
The increasing popularity of Fujifilm’s cameras for quick, nimble motion picture work has begun another trend in the mirrorless realm – using legacy legacy lenses for cinematic work. Similar to the popularity of the Sony E-mount ecosystem, the X-mount features a similar shallow flange depth that makes adapting older SLR lenses a breeze with a plethora of cheap, accessible adapters. But what if you wanted an affordable, purpose built cinema lens for the X-mount system without using cheap, flimsy adapters? Continue reading Fuji X-Mount for Veydra Mini Primes Coming Soon
Instagram has spread through the film industry faster than Benedict Cumberbatch – and it’s a great fit. It allows Behind the Scenes photos to be shared instantly across the globe providing a glimpse into the people, tools, and techniques that go into making our favorite creative projects come to life. Naturally, we curated a list of our favorite lens-centric Instagrammers. Check out our list and the descriptions, follow, share, and enjoy! Continue reading Top 25 Lens Lovers of Instagram
Here’s something a bit different from everyone’s favorite German lens manufacturer – Leica’s new Thalia prime lenses which tout a massive 60mm image circle. More than enough to cover any current digital cinema sensors. The new Thalia line takes aim at cinematographers looking for a more character-rich image. Continue reading Leica Announces New Thalia Line Ahead of NAB
Leica announced the original +1 Macro-Lux Diopter last year and it has quickly become the go-to clamp-on diopter for a wide range of productions. If you didn’t catch the announcement at NAB 2016, I’ll recap for you really quickly… The Macro-Lux +1 is essentially a super high quality clamp-on diopter. If you’re not familiar with diopters, think of them as a very quick way to achieve closer focus than what’s normally possible. A +1 is a pretty standard magnification which is why Leica released this one first. Now you can achieve even greater artistic goals with the +0.5 and +2 Macro-Lux. Continue reading Leica Macro-Lux Line Expands with +0.5 and +2 Diopters
Fujifilm has been busy… If you’re a Fuji fan like I am, you’ve been completely obsessed with the new GFX mirrorless medium format camera and haven’t been paying attention to the other projects they’ve been working on. Which, when you think about it – is mind boggling, that Fujifilm is doing so much at once. This particular move is a bit different for Fujifilm. Instead of making something that fits tightly into their own ecosystem, Fujinon Optical Systems has designed and manufactured a purpose built cinema lens, exclusively for E-mount cinema cameras. A whole new line they’re calling the MK series. The first lens in the line will be the brand new MK18-55mm T2.9. Let’s explore!
Continue reading Fujinon’s New MK Series Launches With An 18-55mm T2.9, TRY IT at Duclos!
No… These aren’t cinema lenses. They’re auto-focus, still photography lenses. Sigma has just announced three new lenses in their ART line of still-photo lenses: 14mm f/1.8, 135mm f/1.8, and a 24-70mm f/2.8. So why am I posting about them? Because with Sigma’s new Cinema line of lenses, zooms and primes, I can imagine that these now options from Sigma will make their way into a cinema housing in the near future. Let’s discuss… Continue reading Sigma Announces New ART Series Lenses
Let’s sort this out… Ever since an article went live over at www.newsshooter.com I’ve had an email or a phone call almost once a day asking me if the new Sigma Cine Zooms were parfocal. Or as many of the calls/emails referred to it: “parafocal, paranormal, parafocusing, paralegal”, etc. etc. It’s parfocal (par·fo·cal), okay?! It seems like the entire industry suddenly became hyper aware of this term which has been around for a very long time and overnight, everyone’s a lens expert. Let’s make sure we’re all on the same page… Continue reading Are Sigma’s Cine Zooms Parfocal?
You may think that we’re paid by Rokinon based on how frequently we report on their new products, but I assure you, it’s simply because they space their products well and release them in a timely manner, as promised. This time, it’s a brand new 20mm Rokinon XEEN. Continue reading Rokinon Adds 20mm XEEN as Promised
Last week Rokinon announced that the latest addition to their XEEN by Rokinon line, the 16mm T2.6 lens, is available immediately from authorized dealers. This is the first XEEN lens to be released since the 135mm lens began shipping last July, and is the first (but most likely not the last) XEEN of 2017. Continue reading Rokinon adds 16mm T2.6 to Xeen Line
Duclos Lenses has a new event series they’re calling NIGHT LIGHT. The idea is to get like-minded cinematographers and camera operators together with some good food and drinks in an informal, casual environment. Each event will feature a different lens manufacturer kicking off with Zeiss and their brand new 21-100mm LWZ.3 as well as the rest of the Zeiss product line and Duclos Cine-Mods. Continue reading Duclos Lenses Presents: NIGHT LIGHT
Last month Sigma revealed that they were (finally) entering the cinema world with a brand new set of cine zooms and primes. On Thursday October 6th, with the help of Duclos Lenses, Sigma hosted a launch event for these new lenses at the ASC Clubhouse in Hollywood, California. Continue reading Duclos Lenses Presents Sigma Cine at the ASC Clubhouse : A Photo Recap