The Vega primes are the latest development by renowned cinema lens rehousing company, True Lens Services (TLS). We got together (virtually) with TLS Managing Director, Gavin Whitehurst and chatted about this new project. Enjoy!Continue reading “New Vega Primes from TLS”
Carrying on with their original line of motion picture lens accessories, Duclos Lenses is pleased to introduce the latest and quite possibly greatest Carry Handle and Motor Bracket for the Angenieux 12x Ultra.Continue reading “New 12x Ultra Accessories from Duclos Lenses”
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”
While this post diverges from cinema just a tad, it’s particularly interesting to us. Duclos Lenses has been working with Formlabs for several years now, dating back to their original Form1 machine. To see such an inspiring use of modern technology compelled me to repost this quick article and share with the rest of you. Take a look and enjoy! Continue reading “The World’s Largest Lens”
Many of you may remember a little site that I began several years ago called LensRescue.com. It’s goal was to be a marketplace for high-end motion picture lenses. But with the growth of Duclos Lenses and the birth of my first daughter, I simply didn’t have the attention or the resources to dedicate to the site and it faded away. Fast-forward several years and I’m thrilled to bring my newest venture to life; LensFinder.com Continue reading “LensFinder.com Launches Online Marketplace for Vintage and Pre-Owned Lenses”
Yep. We did it again. Last year the folks at ShareGrid, Old Fast Glass, a brilliant, talented crew, and myself came together to test a wide variety of vintage lenses to give the cinematography world a sort of sampling, flight, if you will, of the various vintage lenses and what sort of characteristics you can expect with when using them. It’s been shared thousands of times and utilized in who knows how many pre-production meetings to determine the visual aesthetics as it pertains to lenses for a specific project.
So what’s next… ANAMORPHIC! The subject that baffles so many with a shroud of mystery. Optics designed to provide a wider field of view when bound by a specific format, fashioned by unsung geniuses from around the world – some a shining beacon of optical engineering superiority, and others a trophy of intentional flaw for the sake of introducing artifacts and characteristics that, to the average viewer, carries a subconscious nostalgia, lending honesty and legitimacy. But most importantly… They’re beautiful! Continue reading “The Ultimate Anamorphic Lens Test”
That’s right. It’s a lens test. I’ll be joining host Michael Koerner at his facility Koerner Camera Systems in Portland Oregon in just a few weeks. The perfect bridge between NAB and Cine Gear – Koerner will be hosting a range of manufacturers to showcase their latest gear. Less of a shootout and more of a hands-on event, we’ll be pairing up cameras and lenses and giving each a go to see what works best in different situations.
We’ll have lenses and reps from the following:
- Lomo Illumina
- PS Technik
So how about it? Join us! No need to RSVP. You can find the event details over on Koerner’s facebook page. Looks like it’s going to be a good time. Come hang out. Drink. Eat. Mingle. I’ll have some swag on hand to give away. If you’re a lens geek like me and Michael Koerner, you’ll be in good company.
A popular topic of discussion these days is whether or not certain lenses are worth their huge price tags. Moreover is there a justified correlation between a lens’ price and how “good” it is. It’s an apt time to continue this conversation since there are more lenses to choose from than ever. Also, there are some seriously high-performing cine lenses at price points that are within reach of so many filmmakers. The number of “affordable,” full frame, super speed, cinema lenses alone is incredible (Canon CN-E, Sigma Cine, Tokina Vista, Zeiss CP.2, Rokinon XEEN). It’s an exciting time to be a DP. It can also be an overwhelming time to be a DP especially if you are an aspiring cinematographer who is just scratching the surface of all the lens options out there. Continue reading “How do we decide the value of a lens?”
Duclos Lenses released the first video in a new series they’re calling LENS GUTS. The name says it all. Lens geek, Matthew Duclos, sits down with a new lens each episode and tears into it, showing us the materials, build quality, and techniques used while he discusses the history or lesser known facts about each “patient”. Continue reading “LENS GUTS – A New Video Series from Duclos Lenses”
Over the course of two days, in a studio in Burbank, California, a band of self-proclaimed “lens geeks” set out to complete the ultimate vintage cinema lens test. The project first began as a collaboration between ShareGrid’s Brent Barbano, and Duclos Lenses’ own Matthew Duclos. Initially, Barbano and Duclos had been planning to complete a rather small-scale lens test with the industry’s most popular and widely used vintage lenses. However, upon approaching director and cinematographer Mark Lafleur to ask him to participate, they discovered that he too was getting ready to carry out his own vintage lens test. The two sides decided to join forces, and before long a whole team was assembled. With Lafleur and Barbano as Directors and Executive Producers, and Duclos as Lens Consultant, Kyle Stryker was brought on as Director of Photography. The team also came to include Camera Assistants Matthew Borek and Michelle Diaz, and Nick Ferriero as Editor. Continue reading “The Ultimate Vintage Lens Test”
This one has been a long time coming and I couldn’t be happier to be breaking this news to all that have waited so patiently. For the past couple of years I would receive an email or phone call about twice a month asking if we had plans to convert the Sigma 18-35mm and/or 50-100mm to a cine lens. I would consistently, politely decline citing high cost or some other hurdle that made such a project unattractive to my organization which was generally met with the oh so annoying “Well, this other company in China does it for real cheap”. Good for them… But alas, we can finally admit to the real reason why Duclos Lenses has avoided such a project. Sigma has taken it upon themselves to carry out what so many have asked for over the past couple of years; Manufacture a high quality, fast, lightweight range of zooms and primes direct from their factory in Aizu, Japan. Let’s take a look into the future of Sigma Cine. Continue reading “Sigma Steps Into The Spotlight With New Cine Zooms and Primes”
Vintage lenses have been a major trend in the motion picture industry and Cooke is in a prime position to take advantage of their unrivaled heritage. They’ve just announced they’ll be reviving the classic Cooke Speed Panchro line of prime lenses that were first made in the 20’s and ran all the way through the 60’s. Let’s take a look at what information is currently available from Cooke. Continue reading “Cooke Brings Back The Panchro Primes”
Here’s a few bits from around the internet, just in case you missed them. Enjoy! Continue reading “Weekly News Roundup #7”
Yet another bombshell has landed in the NAB 2016 battleground. This time, it’s Canon who has struck with a brand new product in a whole new segment, perhaps only tapped otherwise by Sony – The 18-80mm T4.4 Compact Servo Zoom Lens which features a truly hybrid stills/motion design approach with some interesting cross-breed features. Continue reading “Canon’s New 18-80mm T4.4 Compact Servo Zoom”
IB/E Optics, a German opto-mechanical design and manufacturing house, gave us a sneak peak at their new apochromatic macro telephoto prime lenses which will be available sometime early next year. The new prime lenses possess some rather interesting features. Not only are they true 1:1 macros, they’re original designs with 35mm Full Frame (Vista Vision) coverage, interchangeable mounts (PL, Nikon F, Canon EF, Sony E), internal focus (constant volume, non-telescoping), and Cooke’s /i data technology. Continue reading “IB/E Previews New APO Macro Primes”