I always do my best to spread the word in regards to stolen equipment since it’s usually a potential buyer that tips off the rightful owner or the authorities of suspicious gear. As many of you know, Duclos Lenses was a victim of theft a few years back which set us back in early development of our 11-16mm lens. As a result, I take thefts such as this very personal. This time it involves a complete set of Leica Summilux-C Primes owned by a great rental house and customer of ours, CPT Rentals out of New York. The lenses were being used in the Angelino Heights area of LA at the time they went missing. CPT is distributing flyers that share a few other details that are important to spread including the name of the detective investigating the crime: Craig Marquez of the LAPD (case # 13022294) who can be reached at (213) 484-3479. The serial numbers of the lenses are as follows. Continue reading “Stolen Equipment Alert!”
A recent report provided by Jon Fauer of FDTimes (source) have given us a sneak peak at Leica’s newest offering. Jon Fauer generously provides some prudent information on the upcoming set; The Summicron-C primes. Check out the original article with photos here.
Not to be confused with their top shelf Summilux-C primes. I expect these new Summicron-C primes to fall right in line with the current crop of mid-range, professional primes such as Cooke Mini S4/i, Schneider Cine-Xenar III, and Zeiss Ultra Primes. The Summilux-C primes offer exquisite quality with a maximum aperture of T1.4, whereas the newer, predictably smaller and cheaper Summicron-C primes will provide a maximum aperture of T2.0. (Update below) There is no mention of price just yet but I would imagine they will be competitive with the previously mentioned sets, perhaps a bit higher due to the notorious Red Dot. I’ll be sure to stay on top of this news and release any facts as I receive them. Subscribe!
An unconfirmed source has provided a price of $17,000 per lens which is a $8,000 decrease, per lens, from the high-end Summilux-C primes. This price difference is approximately what I expected. The case is similar to Leica’s other series of lenses. Summilux lenses can range from approximately 20%-40% higher than their Summicron brothers. A very interesting new set of primes indeed. Ill be sure to gather more information at NAB in April, if not sooner elsewhere.
Welcome to the 2013 Southland Alternative Lens Shootout “Wide F%$@*^G Open” Edition. This was a coordinated effort between the following individuals: Will Keir, Phil Holland, Matt Uhry, Matthew Duclos, Jeff Whitehurst, Evin Grant, Ryan Patrick O’Hara, Luke Edwards, Charlie Pickle and myself. I’d like to begin by thanking our Sponsors who not only donated their time, but their facilities, insurance services, and their lens sets: Continue reading “SALT III – High Speed Prime “WFO” Results”
In a recent post I declared that it’s better to invest in glass than in cameras since new cameras come out every few months. I wasn’t just saying that to get people to buy glass, I meant it. Just this year there have been at least half a dozen cameras released or announced, if not more. With more cameras there comes more choices for lenses. Wether it’s a BlackMagic camera with it’s mighty little crop sensor or the new 5DMk14B-R whatevermagig. Lenses will always be required for cinema and in todays economy it’s all about compromise. So where do you compromise and what lenses make the most sense for you? Continue reading “More Lens Options Than Ever”
Leica makes some great lenses. They always have. Even their defunct Leica R series lenses are still working hard all around the world. It would almost seem that Leica is incapable of making low quality products. I just finished our Cine-Mod on a Leica APO-Macro-Elmarit-R 1:2.8/100, or as I like to call it, a Leica 100mm Macro. This lens performs like a dream for motion picture applications. It’s close focus is 2.5′ from the film plane which puts objects about 1.8′ from the front of the lens. Keep in mind, this is 100mm. It’s not THAT close considering the Zeiss ZF.2 100mm f/2.0 cranks all the way down to 18″ from the film plane which is about 8″ in front of the lens. The only draw back, which both the Leica and the Zeiss exhibit, is the massive amount of telescoping from infinity to close focus. Both lenses go from a modest 5″ length to a maximum of about 7″ at close focus. Still, Leica made some amazing glass that still does it’s job quite well.
The DSLR Revolution is in full swing at the moment and everyone is scrambling to get the glass they love on the camera they are stuck with. It doesn’t sound too difficult to simply change a piece of metal, but there are a lot of things to consider when attempting to change a mount. After-all, lenses are a precision tool, naturally. Lens and camera manufacturers all have their own mount system which specifies a flange depth, the distance from the mount flange to the film/sensor plane. When this number is accurate, the image that the lens produces falls on the sensor in perfect focus. Move it forward or backward by the smallest amount (.0005″) and your collimation will be completely off, throwing out your focus marks and destroying the accuracy of a lens, especially a zoom lens. All of the different SLR camera manufacturers had a similar theory and design, but just slightly different numbers for the flange depth. Wouldn’t it be great if they all agreed on a standardized mount that would allow any lens to be used on any camera? Yeah, it would be great. But that’s not how it works.
Back in December of 2009 Band Pro unveiled their “Mystery Primes”. At the time Band Pro held the event at their Burbank facility, they hadn’t secured all of the legal mumbo-jumbo to use the name of a prominent, exotic German lens manufacturer. The fact that Iain Neil, a legendary optical designer, was standing next to the lenses during the unveiling, left little doubt as to who the manufacturer was. A few months later, Band Pro admitted that the lenses were in fact designed and built by none other than Leica. One of the most respected and sought after names in photographic optics, Leica stamped their badge on an impressive line-up of high-speed primes and set a delivery date for cinematographers to look forward to. That date came and went, Band Pro announced that Otto Nemenz International was already slated to receive the first 25 sets of lenses, and the rest of the industry was left to wait for a new delivery date. The lenses have finally started shipping and now I get to put them through their paces.
A few quick picks from my bench of a Leica 60mm Macro lens being Cine-Modded. I’m sure you’ve all read countless posts about the Duclos Lenses Cine-Mod, but I use find the applications so interesting. People are finding the coolest old glass to use for cinema work and it just intrigues me so much. Have I mentioned that I love my job? – This specific lens received the works: An 80mm front ring, 32-pitch focus gear, damped/de-clicked aperture ring, and a fixed Eos mount. This little beauty will work great on just about an Eos mount camera including a RED Epic. Would love to see those results. Here are a few more pics.