Sigma Launches AF Cine 28-45mm T2 FF Zoom

Sigma Launches AF Cine 28-45mm T2 FF Zoom

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.

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Leitz Expands Hugo Line: Adds 40mm T1.5

Leitz Expands Hugo Line: Adds 40mm T1.5

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.

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Laowa’s 10mm Zero-D Cine Prime Gets a PL Mount

Laowa’s 10mm Zero-D Cine Prime Gets a PL Mount

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.

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Tokina Caps the Vista-P Line With New 180mm T1.9

Tokina Caps the Vista-P Line With New 180mm T1.9

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.

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SIGMA Aizu Primes: A Love Letter to the Art of Cinematography

SIGMA Aizu Primes: A Love Letter to the Art of Cinematography

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.

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Mind-Bending Perspective: Laowa’s New 8-15mm T2.9 Zoom Fisheye

Mind-Bending Perspective: Laowa’s New 8-15mm T2.9 Zoom Fisheye

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.

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Impressionist Cinema: DZO Announces the Arles Lustre Primes

Impressionist Cinema: DZO Announces the Arles Lustre Primes

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.

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The Bun-G-Ring: A New Way to Mount Filters?

The Bun-G-Ring: A New Way to Mount Filters?

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?

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Laowa Introduces 1.5x Full Frame Anamorphic Primes

Laowa Introduces 1.5x Full Frame Anamorphic Primes

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.

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NiSi Announces Athena Tuned – Now With Character!

NiSi Announces Athena Tuned – Now With Character!

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.

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TLS Introduces Zeiss Contax Rehousing

TLS Introduces Zeiss Contax Rehousing

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.

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Cooke Optics Teases Upcoming 65 Format Primes

Cooke Optics Teases Upcoming 65 Format Primes

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.

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The Light Shines On New Zeiss Supreme Zoom Radiance

The Light Shines On New Zeiss Supreme Zoom Radiance

ZEISS is ending 2024 with a last minute surprise announcement. Introducing the Supreme Zoom Radiance trio. This new set includes: 15-30mm, 28-80mm, and 70-200mm all at T2.9. The new ZEISS Supreme Zoom Radiance lenses feature the same T* blue coating as the popular Supreme Prime Radiance, delivering consistent flares and a warm color rendition. They are interesting additions to the cinema family complimenting the already unique Supreme Radiance Primes. Let’s take a look at the new Supreme Zoom Radiance lenses and see if they have enough shine to get your attention.

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Schneider Introduces Classic ND Filters: A Modern Solution

Schneider Introduces Classic ND Filters: A Modern Solution

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.

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