Erik Naso did a nice write-up and video on the Canon CN-E prime lenses that includes a lot of facts and some useful opinions. I agree with pretty much everything he has to say about the Canon CN-E primes so check out his perspective. If this video doesn’t convince you that the Canon cinema primes are a great option, swing by Duclos Lenses to try them for yourself.
Zeiss vs. Rokinon – Ultrawide Shootout
Rokinon’s Next “Cine Lens”
Rokinon announced their 35mm T1.5 “cine lens” a few months back, their maiden offering in the world of budget cinema lenses. Now they’re announcing their next alteration set to release this September in the form of a wide angle prime lens. A 14mm T3.1 which actually sounds quite nice. Rokinon didn’t release any pricing but with a cheap plastic body and low-cost materials, the lens will certainly be a good, cheap alternative to higher priced wide angle options. It’s primary competitor will be lenses like the Canon 14mm f/2.8 which receives well deserved great reviews from Canon fanboys Continue reading “Rokinon’s Next “Cine Lens””
Canon EF to PL, Is It Possible?
Yes. But not really.
For the Canon CN-E Primes PL Conversion, click here.
The PL mount is an excellent standard that Arri gave us several decades ago and has been the industry standard alternative to Panavision’s camera mount ever since. The PL (Positive Locking) mount is large enough to accommodate sizable rear elements and strong enough to support the largest of professional cinema lenses (with proper support of course). More and more cinema is moving over to Nikon F, Canon EF, and even the Micro 4/3 standard. So why is everyone trying to slam a PL mount on their grandfathers old set of Nikon AIS lenses? It’s simple. All three of the still photo mounts I mentioned have their limitations that can really disrupt a cinematographers flow. For example, Nikon, Canon, and M34 all have a locking pin that keeps the lens set in it’s place and you push the little button to release the pin. Most of those camera mounts have a very weak leaf spring that keeps a bit of pressure on the lens mount to stabilize the lens. Certainly not as much pressure as PL mount fully tightened. Still photo mounts usually have one position that the lens attaches to the camera in and that’s it. you can’t rotate the lens relative to the camera whereas PL mount, depending on the lens manufacturer, can have up to four mounting positions, each 90 degrees apart. Not a deal breaker but still just another reason PL is superior for cinema. I can go on all day about the benefits of PL mount over Canon or Nikon mounts but that wouldn’t help many people. Continue reading “Canon EF to PL, Is It Possible?”
Showdown: Rokinon Vs. Zeiss
If you frequent my website, you are surely familiar with the Zeiss ZF.2 line of lenses. They are considered the high end of DSLR lenses in terms of quality and price, unrivaled german engineering. But recently, a new crop of cheap-o lenses have made their way across the ocean and are really giving Zeiss a run for it’s money. Continue reading “Showdown: Rokinon Vs. Zeiss”