If you haven’t already, you should grab a copy of P3 Update. After you do that, check out a neat article by James Thompson, that explores what choosing a lens means these days and why shooters make the decisions they do. With feedback from industry professionals such as Richard Crudo, ASC, Steven Poster, ASC, and Jon Nelson, it’s a nice article that I feel taps into the direction that the motion picture lens industry is going in that you need to find what works best for you and the only way to do that is experience.
Take anyone of these lenses from any manufacturer, off any shelf in any rental house in the world, and I guarantee it will deliver an amazing image,” says Cinematographer Richard Crudo, ASC (“Justified”). “But, what does that tell us? Is it the right feel? Is it the right texture? Is it the right thing for what you are trying to do? And, that you only know when you have a script in hand and a director to talk about it with.” That chat with a director will also cover the subject of resolution. “We’re already at 4K resolution, which is more than the human eye can handle,” explains Crudo. “The only thing that really changes is apparent contrast at that point. [Manufacturers] should be worrying more and putting all their R&D into bit depth and color space [and] black level. That is where we really need to work, capturing highlights [and] the high-end of the spectrum.
Canon introduced their pair of lightweight zooms, 15.5-47mm and 30-105mm, about a year ago and they’ve had a bit of a rough start. They were introduced into an already saturated market where every other manufacturer had been making zoom lenses for decades. Canon is no newb when it comes to high-end cinema zooms. They had their line of S16 format zooms a few years back (remember 16mm film?) that were adapted from their long running and still successful video lens division. Everyone knows that Canon makes great lenses. Their L series is a perfect indication of high quality, professional glass. But in the recent past, there wasn’t really any professional cinema lens offerings from Canon. The new lightweight zooms were an excellent comeback! They had all the features I look for in a zoom lens. They are designed with simple, robust components throughout the lens. Plenty of focus marks on clean, simple barrels. Consistent T-stop of T2.8 throughout the zoom range. And just about every other feature of a professional cinema zoom lens. Continue reading Canon Lightweight Zoom Universal Mount From Duclos Lenses
Angenieux has long been the standard for cinema zoom lenses and certainly isn’t stopping anytime soon. NAB brings out the best in new lens manufacturers (and sometimes the worst) so Angenieux took the opportunity to announce their new addition to the Optimo series of lenses. This time it’s a 45-120mm. A little on the longer end of an all-purpose zoom, this will share a lot of the same features as the other light weight zooms like the 15-40mm and the 28-76mm Optimo. It will cover a full Super 35mm sensor/film utilizing a 31.4mm image circle and will feature an interchangeable mount with options for PL, Panavision, Nikon F, and Canon Eos.
The focus scale has 320° of rotation which is about as much as anyone could every want and offers separate interchangeable metric and imperial scales. It will weigh in at 4.3 lbs. making it perfect for lightweight, steadicam, and 3d rigs. It’s a constant T2.8 which isn’t the fastest zoom in the world, but it’s certainly not the slowest and matches well with other pro cine zooms. I’m sure we can expect the same accuracy and quality as the rest of the Optimo lenses. It’s focal range, 45-120mm is a little long even at the wide end giving it a horizontal angle of view of 27.4°-10.5°. A 45mm in a S35 frame is fairly tight and 120mm on the long end gives it a nice versatile throw. It’s 2.7x zoom ratio drops it in the same boat as the other short zooms. I’ll be looking forward to getting my hands on this little bad boy from Angenieux and putting it through the paces. I have no doubt I won’t be let down.