a blog by Matthew Duclos
Laowa is making a surprisingly aggressive move into the broadcast and live-production market with its new Ultima Zoom Series, a lineup of long-range parfocal cinema zooms built for sports, wildlife, and live-event production. Rather than chasing the crowded compact cine zoom market, Laowa appears to be leaning hard into extreme zoom ranges and operational flexibility instead.
Continue reading “Laowa Refocuses on Long-Range Cine Broadcast Zooms”
Zeiss has officially introduced the new Horizon Anamorphic lenses, a full-frame 2x anamorphic lens system that represents one of the company’s most ambitious cinema lens releases in years. While the anamorphic market has spent much of the past decade revisiting vintage imperfections and aggressively stylized optical character, Horizon appears focused on something different: intelligent integration, workflow efficiency, and adaptable imaging systems built for the realities of modern production.
Continue reading “Zeiss Introduces Horizon Anamorphic – Intelligent Anamorphics”
Zeiss has introduced Panoptes 65, a new family of cinema prime lenses designed specifically for 65mm format digital cinematography. The set launches with ten focal lengths ranging from 25mm to 180mm, all at T2.2, with a 59.9mm image circle intended to cover cameras such as the ARRI Alexa 265, Blackmagic Design URSA Cine 17K 65, and Fujifilm GFX ETERNA 55.
Continue reading “ZEISS Introduces Panoptes 65 – Large Format Primes”
True Lens Services has announced a new rehousing of the vintage Angénieux 45–90mm, translating a late-1960s optical design into a mechanically modern cinema tool.
Continue reading “Rehousing a Classic: TLS Modernizes the Angenieux 45–90mm”
There’s a fine line between innovation and indulgence in the world of cinema optics. Every so often, a new “look” emerges – not from the meticulous engineering of glass and coatings, but from the collective mood of an industry chasing something intangible. Character. Texture. Imperfection. Or, as it’s now being called – vibe. This year, Duclos Lenses leans into that ambiguity with the introduction of a groundbreaking new product.
Continue reading “Duclos Lenses Develops New Synthetic Coating Technology”
DZOFilm’s new Arcana series enters an increasingly crowded anamorphic market with a familiar promise: deliver cinematic character without the traditional tradeoffs. Compact, lightweight, and relatively affordable, Arcana positions itself as a practical alternative to larger, more demanding anamorphic systems. The real question is not what it claims to do, but how much of the anamorphic experience it actually preserves in the process.
Continue reading “DZOFilm Introduces Arcana Primes – A Hybrid Approach to Anamorphic”
Vintage camera lenses from the mid-20th century often develop a yellow or brown tint as they age. This “yellowing” results in a warm color cast and reduced light transmission, impacting image quality. At Duclos Lenses, our technicians frequently encounter this issue in classic optics across a wide variety of lens brands. This article endeavors to explain the technical causes of lens yellowing and outlines the process of de-yellowing – the restoration of clear glass – using ultraviolet (UV) light. We will delve into the physics behind the discoloration, the UV treatment procedure (sometimes called annealing or bleaching), as well as the associated effects, risks, and benefits. The intended audience is lens technicians and engineers, so we will prioritize scientifically grounded knowledge over speculative or anecdotal information.
Continue reading “Thorium-Induced Yellowing in Mid-Century Lenses – Cause, Effect, and Solutions”
At Duclos Lenses, we have always had an eye for glass that goes beyond the look. There’s always more than meets the eyes when it comes to optics and we have an eye for spotting potential. Some might say we are optics experts. Canon’s newly announced CINE SERVO 11-55mm T2.95-3.95 PL and RF is reminiscent of a broadcast lens, but this servo is ready to rock cinema. With wide coverage, great resolving power, and suite of professional luxuries, this lens opens the door for creatives who need versatility with little compromise.
Continue reading “Canon CINE SERVO 11-55mm T2.95 – Built for Broadcast, Ready for Cinema”
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.
Continue reading “Sigma Launches AF Cine 28-45mm T2 FF Zoom”
The Vespid II primes arrive with more than just a fresh coat of paint. DZOFilm has taken the core appeal of the original Vespid series and supercharged it with faster apertures, metadata support, and a refined lineup built for modern filmmaking. These lenses are not simply a sequel, they are a bold statement that DZOFilm is listening to creators and pushing their designs into territory once reserved for higher end cinema glass.
Continue reading “DZOFilm Vespid II Review: Speed, Metadata, and a Bold New Lineup”
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.
Continue reading “Leitz Expands Hugo Line: Adds 40mm T1.5”
NiSi is set to expand its footprint in the cinema lens market with the introduction of the new Aureus Prime series—full-frame, T1.4 cinema lenses designed for uncompromising image quality and professional workflows. The new line builds on the momentum of the Athena Primes, which launched in 2023 with focal lengths from 14mm to 85mm and later grew to include 18mm, 40mm, and 135mm options. That series quickly established NiSi as a serious player among filmmakers seeking sharp, consistent optics and solid mechanical design at a competitive price point.
Continue reading “NiSi Raises the Bar with New T1.4 Aureus Primes”
Canon has long been a trusted name in both photography and cinematography, but it’s been a while since we’ve highlighted any new releases from the brand. The last time we dove into their products, it was nearly two years ago, with the CN-E Flex Zoom lenses. Since then, Canon has been relatively quiet, especially as other brands have adapted to the mirrorless market. However, Canon recently launched the VCM L hybrid lenses, a series designed with promising features that could be particularly useful for video creators. The question is, how do they hold up for filmmaking, and more importantly, can they be Cine-Modded?
Continue reading “Canon VCM L Lenses for Filmmaking: A Complete Review for Hybrid Video Creators”
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?
Continue reading “The Bun-G-Ring: A New Way to Mount Filters?”
Rarely does a lens series come along that stays in my mind for long. When a new cine lens entry hits the market, and there have been many this year, I’m always excited. A spark of excitement and that deep “Lens Geek” obsession sets in. I don’t want anyone to think I’m not interested in the other releases this year, but as time passes, one set in particular has managed to live rent free in my head. Enter the Thypoch Simera-C primes.
Released in October in E-mount variants, these primes made a surprising splash, and now with the release of M-mount versions, their impact is set to grow even more. We’ve already covered the Simera-C on our social media and posted an article about the newly released 21mm T1.5 earlier this month. But this M-mount release presents the perfect opportunity to revisit them — and maybe ease their hold on my mind
Continue reading “The Thypoch Simera-C: Now In M-Mount”