Schneider-Kreuznach has a broad history in the world of optics. They’ve produced many sets of motion picture lenses as well as a plethora of photographic lenses for just about every format imaginable. A few NABs ago they announced that they were introducing a new line of motion picture lenses, the Cine-Xenars. I was particularly excited because they had long since absorbed Century Precision Optics back in 2000 and I had been expecting great things from both companies with the impending motion picture revolution. …And then I saw the prototype lenses.
LAKE SUCCESS, N.Y., January 10, 2013 – Canon U.S.A., Inc., a leader in digital imaging solutions, announces the new CN-E14mm T3.1 L F and CN-E135mm T2.2 L F single-focal-length lenses for large-format single-sensor cameras employing Super 35mm or full frame 35mm imagers. These two new lenses join with Canon’s CN-E24mm T1.5 L F, CN-E50mm T1.3 L F, and CN-E85mm T1.3 L F primes to provide a broad line of five precision-matched, competitively priced EF-mount Cinema prime lenses that provide high optical performance levels and a choice of versatile focal lengths for a wide range of creative shooting choices. All five Canon Cinema prime lenses are part of the Canon Cinema EOS System of professional digital cinematography products, which include the EOS C500 4K/2K Digital Cinema Camera, EOS C300 Digital Cinema Camera, EOS C100 Digital Video Camera and EOS-1D C 4K DSLR Cinema Camera, and four Canon Cinema zoom lenses. Continue reading “Canon Introduces Two Additions To Their Cinema Prime Line-Up”→
Having trouble keeping track of all the new cinema zoom lenses offered by manufacturers such as Angenieux, Canon, Arri, and Fuji? Fear not my friends. Here is a quick reference chart showing most of the common zoom lenses used by professionals around the world. Feel free to download and share.
Work in progress, please feel free to leave feedback. 🙂
A few weeks ago, I dropped a little sneak peak photo of the prototype Carry Handle & Motor Bracket Kit. Fitting and testing was a breeze and everything is ready to ship. Head on over to DuclosLenses.com for all the details. Oh, and don’t worry… The 18-80mm kit is on it’s way as well.Continue reading “New Alura Kit From Duclos”→
The following from a Zeiss press release dated 08.30.12.
Carl Zeiss will display the new cine zoom lens Compact Zoom CZ.2 28-80/T2.9 at the IBC in Amsterdam, the leading international trade show for film, radio and television, from September 7 to 11, 2012 in hall 11 booth G64. The new Compact Zoom CZ.2 28-80/T2.9 by Carl Zeiss is a cine zoom lens ideally suited to a wide variety of shooting situations. It is easy to handle, compact and versatile. It takes pictures in 4K resolution — in full format. This is the second Compact Zoom CZ.2 lens from Carl Zeiss, complementing the Compact Zoom CZ.2 70-200/T2.9 presented in April at the NAB Show 2012 in Las Vegas for the longer focal length range. For color rendition, contrast and other parameters such as great flare suppression, calibrated focus scales, consistent aperture over the zoom range, round iris the new CZ.2 family is closely aligned to one another, making these lenses ideal for attaining a con- sistent optical performance when changing lenses.
Zeiss has been on a roll over the past few years. Their ZF.2 lenses became an overdue success and with those came the Compact Primes CP.2 and the Light Weight Zoom LWZ. They’ve recently announced their short line of high speed CP.2 lenses deemed Super Speeds as well as their new 70-200mm Cine-Zoom and even a range of professional anamorphic primes at NAB this year. Their product line-up just gets better and better with no hint of stopping anytime soon. Continue reading “Zeiss Teases New Lenses, IBC 2012”→
Yes! I have some material in the pipe on just this subject but I wanted to give a quick example. While taking some beauty shots of recent Cine-Mod performed to a Samyang 24mm f/1.4, I was pleased by the results of my initial photos. A bit of info: I had been using my camera for some casual street photography with a very nice, recently overhauled Angenieux 3 inch, f/2.5 lens attached to my Olympus OM-D. The lens remained on my camera over the weekend. When it came time to take some product photos back at the Lens Lab, I grabbed my camera with the Angenieux still attached and I figured I would just leave it there to see how it fared for product photos. The results were interesting to say the least. Not exactly product photo worthy so I decided to swap back to my go-to product photo lens which is currently an Olympus 45mm f/1.8. Continue reading “Does a Lens Really Provide a Look?”→
Rokinon announced their 35mm T1.5 “cine lens” a few months back, their maiden offering in the world of budget cinema lenses. Now they’re announcing their next alteration set to release this September in the form of a wide angle prime lens. A 14mm T3.1 which actually sounds quite nice. Rokinon didn’t release any pricing but with a cheap plastic body and low-cost materials, the lens will certainly be a good, cheap alternative to higher priced wide angle options. It’s primary competitor will be lenses like the Canon 14mm f/2.8 which receives well deserved great reviews from Canon fanboys Continue reading “Rokinon’s Next “Cine Lens””→
There is no substitute for quality. Duclos Lenses now offers a selection of precision iris rods. Carbon fiber is neat. Aluminum is cheap. Stainless steel remains the most durable, precise, and reliable material for high quality iris rods. Why bother with lower quality materials that may break or bend? Duclos Lenses has meticulously engineered every set of iris rods, precision ground to exacting dimensions with the most delicate of tolerances. Such a simple tool shouldn’t be given a second thought by any cinematographer or operator. Available in 15mm diameter, 24” and 12” lengths, the Duclos Lenses Iris Rods will provide the support required by today’s exotic heavyweight zoom lenses as well as a mounting point for the plethora of accessories associated with 15mm support rods. Jump to the product page >
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.
As many of you know, several months ago our facility was broken into, setting us back in orders with our 11-16mm lens and leaving us violated and insulted. Since then, we’ve been planning, researching, and pursuing a facility more suitable for our needs. If you had visited our old shop in Canoga Park, it was just that… A shop in an industrial park. Our new facility which I have endearingly titled The Lens Lab, is far more appropriate for our ever growing company. This will allow Duclos Lenses to accept more service work as well as technicians to increase turn around time and speed up production of our 11-16mm lens and future products. With dedicated test and tech areas such as dual independent test projectors and optical calibration benches, Duclos Lenses has never been better equipped to repair and maintain the motion picture industries most valuable optics. Located in Chatsworth, CA, The new Lens Lab should house Duclos Lenses for decades to come. Don’t forget to update your phonebook with our new address and phone number. Contact us today to have your lenses serviced in the all-new Lens Lab.
Duclos Lenses – 20222 Bahama St. Chatsworth CA, 91311 – Tel (818) 773-0600 – Fax(818) 773-0601
I first saw these lenses featured in an article over at Cinescopophilia.com who did a nice job reporting the facts. Basically, it looks like CineMatics is re-housing Zeiss ZE/ZF lenses for use on motion picture application. Similar to a Cine-Mod but larger and with more parts. The cost of these lenses really is pretty cheap, despite the title of the page over at CineMatics (“High Cost Customized Film Lens”). I could’t get a hold of anyone to provide some more accurate information regarding the details behind these new lenses. As far as I can tell, the lenses are not re-barreled, but just… Barreled. It looks like the original lens is left intact and the housings are added on top of the original lens. Not a bad thing, just curious. The CineMatics lenses look almost identical to Zeiss Compact Primes, but to the decreeing eye, are obviously very different. From what i can see on the photos provided on their site, the barrels are quite a bit larger than stock ZE/ZF lenses. This would help extend focus travel a little bit, but what puzzles me is that there are two follow focus gears in the photo. One larger gear toward the front of the lens and another small gear at the back that appears to be directly connected to the focus ring via set screws. At first glance, it appears to be the same construction as a CP.2 which would lead one to believe the smaller rear gear is an aperture ring but it doesn’t appear to be connected in any way. The site says they can add a aperture ring for an additional charge, I assume to ZF models only which already have an aperture control ring. It also notes that to remove the click-stops, there is another additional charge which tells me that the original aperture assembly is kept intact. I would love to see these lenses in person as they could be a good alternative to the much higher priced CP.2. The lenses do also come with the Zeiss warranty… Not sure how that works either. So these lenses are basically a more extensive, prettier Cine-Mod somewhere in-between ZF.2 and CP.2. If you want to have a set of professional looking lenses to impress your producer on set but don’t want to break the bank, these lenses might be a good choice for you.
Olympus has suffered a lot of bad press recently with the outbreak of bad corporate decisions and “fee payment” coverups. I’m not one to speculate about international corporate scandal, for several reasons; I don’t have all the facts, and I don’t care. As long as Olympus continues to crank out quality products, I’ll continue to buy them. I’ve owned several Olympus cameras several of which were the PEN line of cameras. I fell in love with the Micro Four-Thirds (M4/3) system, shared by Olympus and Panasonic, right around the time the Panasonic AF-100 became popular with its’ modest sensor and versatile lens mount options. The M4/3 system is extremely flexible in that adapters can be used for just about any lens mount. From Leica R to Arri PL mount, almost any lens can be mounted to a M4/3 camera with little to no hassle. Other than the vast array of lens options I really appreciate the inherent compactness of almost all of the M4/3 cameras. Wether it’s the relatively miniature Panasonic AF-100, or a pocketable PEN camera, I can’t get enough of the M4/3 system. My introduction to the PEN line was rather careless. I never thought I would adopt such a fledgling standard and grow to prefer it over other systems that have been around for decades. A little background on my E-PL1: It was purchased as a test mule for lens evaluation when it first came out. I knew that I could mount all of the cinema glass I was servicing and testing to it and thought it would be useful for real world image testing. The small sensor wasn’t a big deal since I was only looking for basic center image test results. The camera did indeed provide vital test results but eventually we moved onto larger sensor cameras for test mules in order to evaluate frame coverage and edge illumination falloff more often. The E-PL1 was retired to my bench where I occasionally snapped photos of interesting subjects for use on my twitter or blog. At this time, I regularly used, and still do, a Nikon D700 with an arsenal of lenses for my hobbyist shooting around town and on vacation. Continue reading “PEN EP3 FTW LOL”→
Just finishing up an overhaul on a RED 18-85mm RED zoom. The zoom focus and iris all needed some new grease after some heavy shooting. This lens is built quite well using nothing but aluminum alloys and high quality hardware. A cam driven zoom converter and a helix based focus assembly join to make quite a nice optical-mechanical tool.