Zeiss has had a busy few weeks with the announcement of the new autofocus Batis primes as well as the Milvus line of lenses that replace the outgoing “Classic” ZF.2 and ZE primes with a more modern, ergonomic housing including two brand new optical designs in the Milvus 50mm f/1.4 and Milvus 85mm f/1.4. Then, only a few weeks later Zeiss announced their 21mm f/2.8 Loxia lens designed specifically for Sony FE mount cameras. A wide-angle Otus lens had been rumored for almost a year and we’re finally able to talk about the newest member of the venerable Otus line of primes. Continue reading Zeiss 28mm Otus Officially Announced
Yes. But not really.
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?
This post is a little self serving in that I’m touting a product that Duclos Lenses sells. However, I love the product and use the product myself on a daily basis. The product I speak of is the Zeiss ZF.2 lenses. I have raved about these lenses ever since I started using them years ago on my Nikon DSLR. I’ve had several posts detailing their use in the motion picture industry and the modifications that make them cinema work horses. Duclos Lenses has been modifying and selling the Zeiss ZF.2 lenses as an official Zeiss distributor for several years now. Zeiss announced that they would be offering a set of five lenses at a reduced price which included a swanky custom foamed transportation case. I thought the idea was great. That is, until we ordered a few and realized that the lenses offered in the set were not the lenses I personally thought performed the best. On top of that, after our Cine-Mods, the lens barrels were expanded to at least 80mm due to the additional front ring and focus gear, the lenses didn’t fit in the case. So we thought, why not make our own set and offer a similar discount. We hand-picked the particular lenses to include in the set, mostly for their overall quality and range from wide to tele.
The set includes a 21mm f/2.8, 28mm f/2.0, 35mm f/1.4, 50mm f/2.0 macro, and of course, the gorgeous 85mm f/1.4. Between these five lenses, 21mm-85mm, just about every shot is covered. The set comes in our own custom foamed flight case, a Pelican Storm iM2600 to be specific, foamed by the fine folks at Innerspace Cases (the same guys who do the RED cases). Each lens is hand selected and features our complete Cine-Mod including a standard 32-pitch focus gear, 80mm front with 77mm filter thread, and of course, a de-clicked, buttery smooth aperture ring. I love this set! It’s every focal length I would want in a portable set of primes. I think the Zeiss ZF.2 lenses appeal to a wide range of cinematographers due to their light-weight, budget conscious nature. On top of that, their image quality is excellent for the price and the image size the lenses produce covers anything from a micro four thirds AF100 to a RED Epic, and all the way up to the 35mm full frame sensor of the 5D MkII. Like I said, this post is a little self serving, but I really do enjoy using these lenses. For more information head on over to www.DuclosLenses.com
Zeiss recently announced that they will be utilizing the Micro Four Thirds standard on their sought after CP.2 Compact Primes. This will come in the form of an interchangeable mount in addition to the existing Nikon F, Canon Eos, and PL mount. The Micro 4/3 mount will allow the cinemaesque CP.2s to be used on the popular Panasonic AF-100 camera instead of adapting the Nikon, Canon, or PL mount. Just another example of Zeiss keeping up with the latest and greatest. The CP.2 lenses have an optional support hole on the bottom of the lens that I would strongly suggest utilizing since the Micro 4/3 mount is very fragile compared to a PL mount. I certainly wouldn’t suggest relying on only the Micro 4/3 mount to support a lens as heavy as a CP.2.
I receive dozens of emails everyday and I want to respond to them all but sometimes it just isn’t possible. I’m not a trade secret kind of guy. I like to spread knowledge and educate as many people as I can. So here is a quick little FAQ in regards to lens modification and a few other common questions I am asked… Frequently.
1) What lenses work well for motion picture?
2) I have a bunch of still lenses. Can they be converted to work for cinema?
3) What is a Cine-Mod?
4) Can my lens be Cine-Modded?
5) What lenses are well suited for a Cine-Mod?
6) Can the mount on my lens be changed?
7) I have Nikon lenses. Can the focus be reversed?
8] The focus throw of my still lenses is short, can it be expanded?
9) Can lens breathing be corrected?
10) Can my lens be re-housed for cinema use? What is the cost?
11) Can my lens be converted to PL mount?