Right on the heels of their 150mm Cine Macro announcement, Irix is obviously hard at work filling out their new line of cinema lenses. Newest to the family is the 11mm T4.3. The lens will feature several cine-standard features as well as some clever notable new ones. Let’s take a closer look.Continue reading “Irix Adds 11mm T4.3 to Cine Line”
Tokina joined the cinema market with their Vista Primes which were met with open arms for their excellent image quality and coverage. But for many cinematographers, the lenses lacked character or personality. They were simply too clean or “clinical” as I’ve come to refer to them. But that changes with the Vista One primes.Continue reading “Vista One – More Character from Tokina Cinema”
As of April 1st 2019, ZGC is now Cooke Americas (and no it is not an April Fool’s joke). Nothing much will change apart from the name. Same great people, products, and authorized service. The switch is another part of Cooke’s ongoing commitment to worldwide service and support.Continue reading “Cooke Lands in America”
I’ve written about the Tokina 11-16mm many, many times. In fact, I was temporarily banned from REDUser years ago for backhandedly plugging the Duclos 11-16mm conversion – breaking the rules of the forum. I’ve since cleaned up my act (sort of). I speak often of the Duclos 11-16mm, and when I do, I always give credit to Tokina for making such a great product. I wanted to take a post here and acknowledge the original lens, it’s heritage, influence, and evolution over the past (nearly) decade. Continue reading “Tokina’s Gateway to Cinema: The 11-16mm”
Tokina entered the cinema lens market several years ago with a few zooms and a macro prime which were all ported over from their still photography line of lenses. Originally, their 11-16mm T3 (a lens that we lovingly began the trend with) lacked a PL mount option which it finally gained just recently, while the other lenses featured the PL mount as a factory option. The 11-16mm was accompanied by two additional zoom lenses – a 16-28mm T3 and a 50-135mm T3 and a lonely 100mm Macro prime lens. Last week, Tokina announced that it will begin manufacturing three brand new prime lenses – a 35mm, 50mm, and 85mm, all T1.5, and refreshing the 16-28mm with a version II. Continue reading “Tokina Cinema Introduces New Primes, Refreshed Zoom, and More!”
Leica is known world-wide for their classic line of M lenses that have been a favorite of photographers for decades. With the worlds of still photography and motion picture becoming less and less defined as time goes on, it’s not uncommon to see a still photo lens being used for motion picture work. Leica took note of this with their extensive catalog of high quality M mount primes and decided to do a bit of blending themselves. Continue reading “Leica Refocuses With M 0.8 Primes”
Just ahead of the European trade show trio, Zeiss has lifted the veil on their newest zoom lens project – The 21-100mm T2.9-3.9 LWZ.3. A Super 35 format, 4.7x cinema zoom lens weighing in at a mere four and a half pounds. We’ve got the scoop on Zeiss’ newest light weight zoom lens.
Continue reading “Zeiss Revives LWZ Line With New 21-100mm T2.9-3.9 LWZ.3 Zoom”
Here’s a few bits from around the internet, just in case you missed them. Enjoy! Continue reading “Weekly News Roundup #7”
It was only a matter of time before Angenieux anamorphasized it’s 25-250mm Optimo Style and here it is. A 44-440mm T4.5 2X anamorphic zoom. This lens rounds out the rest of Angenieux’s anamorphic line-up which consists of a wide 30-72mm T4, and the mid-range 56-152mm T4. Let’s take a look at some of the finer details of this brand new anamorphic telephoto zoom. Continue reading “Angenieux Reveals New Anamorphic Zoom Ahead of NAB”
Veydra has done very well with their Micro 4/3 mount Mini Primes designed for cameras like the Panasonic GH4 or the Blackmagic Pocket Camera. Until now, the Mini Primes were available only in Micro 4/3 mount. But today they released a short video showcasing the new mount options and the wide range of cameras that these primes will work with. Continue reading “Veydra Debuts New Mount Options For Mini Primes”
Back in 2009 we began shipping our Tokina 11-16mm cine conversion. We honestly had no idea it would be so successful. About a week after we initially started shipping our 11-16mm lens, customers began asking what our next project was. You see… We don’t just convert any lens. We look for something different – something unique. At the time we released our 11-16mm lens, there really wasn’t anything else in the same category. There were a few high-end options that were 6x – 8x the price of our lens or some vintage lenses that simply didn’t perform very well when compared to the 11-16mm. These days you can find the 11-16mm with cinema features from any number of companies including lens shops in Germany, China, and even from Tokina themselves. I can confidently say that our cinema conversion is still the best option out there by a large margin. So – the next project… Continue reading “Leica 70-180mm Cinema Conversion from Duclos Lenses”
In a recent newsletter, P+S Technik Managaing Director, Alfred Piffl, felt it prudent to bestow a bit of knowledge upon cinematographers keen on having some vintage lenses re-housed – something that I feel is necessary coming from one of the largest lens re-housing operations. There’s no doubt about it; vintage lenses have made a huge resurgence in the motion picture world. It’s not a fad that I have a solid explanation for. Perhaps it’s the fault of modern cameras being so crisp and sharp, a rather clinical look in a world of romance and beauty. Or maybe it’s just the hipster trend to use an old lens that would otherwise be off limits. Regardless of the reason, vintage lenses are being refurbished and re-housed in large numbers. But users expectations must be brought back down to earth and kept reasonable. Continue reading “P+S Technik Conveys Challenges of Rehousing Vintage Lenses”
Canon announced their CN-E Primes back in 2011 with only a 24, 50, and 85mm. They quickly added the 14, 35, and 135mm to the line-up providing cinematographers an set of six lenses from 14 through 135mm. The lenses are plenty sharp and built rather well. Duclos Lenses saw the potential of these primes and took action. In this post, we’re going to dive into what makes the Canon CN-E Primes such great lenses and why Duclos Lenses chose these particular lenses for modification to PL mount. Continue reading “Canon CN-E Primes – An In-Depth Look”
Canon is really making waves in the professional motion picture world. They have the manufacturing breadth and experience to produce some really high quality products. Professionals have been a bit slow to adopt the new system of cinema cameras and lenses – but it looks like things are picking up. …way up.
In a recent press release, Canon discusses their products being used on an upcoming IMAX film. Check out the press release below.
If you haven’t already, you should grab a copy of P3 Update. After you do that, check out a neat article by James Thompson, that explores what choosing a lens means these days and why shooters make the decisions they do. With feedback from industry professionals such as Richard Crudo, ASC, Steven Poster, ASC, and Jon Nelson, it’s a nice article that I feel taps into the direction that the motion picture lens industry is going in that you need to find what works best for you and the only way to do that is experience.
Take anyone of these lenses from any manufacturer, off any shelf in any rental house in the world, and I guarantee it will deliver an amazing image,” says Cinematographer Richard Crudo, ASC (“Justified”). “But, what does that tell us? Is it the right feel? Is it the right texture? Is it the right thing for what you are trying to do? And, that you only know when you have a script in hand and a director to talk about it with.” That chat with a director will also cover the subject of resolution. “We’re already at 4K resolution, which is more than the human eye can handle,” explains Crudo. “The only thing that really changes is apparent contrast at that point. [Manufacturers] should be worrying more and putting all their R&D into bit depth and color space [and] black level. That is where we really need to work, capturing highlights [and] the high-end of the spectrum.
Check out the complete article over at P3 Update.