Rokinon announced their XEEN refresh back in September 2019 with only a few focal lengths. As promised, they’ve added two highly anticipated focal lengths to the XEEN CF line – a 16mm T2.6 and a 35mm T1.5Continue reading “Rokinon Adds 16, 35 to XEEN CF Line”
Canon wiggled their way into the professional cinema lens market with a few zooms and a trio of primes. Shortly after their initial line-up they added a wide and telephoto prime option to cap the end of their prime lens family. The line-up included a 14mm, 24mm, 50mm, 85mm, and 135mm. Not a bad set of primes, but the gap left between the 24mm and 50mm was painfully obvious. This week Canon has announced the development of a 35mm CN-E prime lens to add to their offering. Continue reading “Canon Fills Out Nicely With a New 35mm Cine Prime”
Everyone knows that bigger is better. Kinda… Larger sensors are often associated with lower noise levels and generally higher quality photos while smaller sensors are associated with lower data loads and higher transfer rates but noisier and generally lower quality images. It’s a trade off at this point in technology. What a lot of folks need to remember is that there is a fundamental difference between sensor size and sensor resolution. In particular when it comes to Red cameras and their wonky formats. A lot of people including Red staff will describe lens coverage in regards to a specific resolution such as “4K” or “5K”. That’s great since they pretty much own the names and if someone is asking if a lens covers 4K, they’re usually referring to a Red One or 5K on an Epic. But that’s where things get confusing.