a blog by Matthew Duclos
True Lens Services has announced a new rehousing of the vintage Angénieux 45–90mm, translating a late-1960s optical design into a mechanically modern cinema tool.
Continue reading “Rehousing a Classic: TLS Modernizes the Angenieux 45–90mm”
The legend of the Angenieux 12x zoom is one that most cinematographers know by heart. Since the original 24-290mm T2.8 first landed on sets, it has been the gold standard for long-range cinema zooms. With the introduction of the Optimo Ultra 12x 65, Angenieux is expanding that legacy to the medium format market in more than one sense of the word with a truly impressive bit of optical engineering that packs a massive punch.
Continue reading “Angenieux Expands Line with Optimo Ultra 12x 65”
Canon has officially introduced the Cine-Servo 40-1200mm T5.0-10.8, a new ultra-telephoto zoom that expands the company’s long-running Cine-Servo philosophy in a meaningful and ambitious direction. Framed by Canon as “Your Vision, Extended” and promoted as offering an “extraordinary zoom range in a compact footprint,” the lens is clearly designed to capture attention while reinforcing Canon’s position in the hybrid broadcast and cinema space.
Continue reading “Canon Debuts Cine-Servo 40-1200mm T5.0-10.8”
At Duclos Lenses, we have always had an eye for glass that goes beyond the look. There’s always more than meets the eyes when it comes to optics and we have an eye for spotting potential. Some might say we are optics experts. Canon’s newly announced CINE SERVO 11-55mm T2.95-3.95 PL and RF is reminiscent of a broadcast lens, but this servo is ready to rock cinema. With wide coverage, great resolving power, and suite of professional luxuries, this lens opens the door for creatives who need versatility with little compromise.
Continue reading “Canon CINE SERVO 11-55mm T2.95 – Built for Broadcast, Ready for Cinema”
Sigma has officially pulled the curtain back on the 28-45mm T2 FF, the first release in its brand-new AF Cine Line. Launching November 6, 2025, this lens is more than just another short zoom; it’s Sigma’s declaration that autofocus has a place in professional cinema production. Available in L-Mount and Sony E, the 28-45mm arrives with cine-style mechanics, the optical pedigree of Sigma’s Art series, and a high-response linear actuator for fast, near-silent autofocus. For Sigma, this is both a technical showcase and a philosophical challenge to decades of manual-only cinema tradition.
Continue reading “Sigma Launches AF Cine 28-45mm T2 FF Zoom”
When you hear the name Laowa, what’s the first thing that comes to mind? Normally, and I’ll say this with the utmost respect, weird lenses. Laowa always goes against the norms, choosing innovation over following trends. They consistently deliver tools that at first seem niche or strange, but quickly prove themselves as must-haves once you see the results. I’ve always appreciated that approach. It’s a bit like that middle-school idea that not trying to be popular ends up making you stand out anyway.
Now comes the Laowa 8-15mm T2.9 Fisheye Zoom, their latest ultra-wide cine lens, and a potential game-changer for AR and VR creators. This lens fills a noticeable gap left by a certain lens with a red ring, which was widely used in immersive production workflows. The question is whether this new Laowa offering is simply trying to replicate what came before, or if it’s pushing things forward on its own terms.
Continue reading “Mind-Bending Perspective: Laowa’s New 8-15mm T2.9 Zoom Fisheye”
DZOFilm has expanded its X-tract lineup with a new addition: the X-tract 90° 18-28mm T8 FF Probe Zoom. Unlike the original straight probe model, this version features a 90-degree bend, allowing for different shooting angles without requiring elaborate rigging. While the overall design and optical formula remain similar, the angled approach introduces some key differences that may be useful for certain applications.
Continue reading “DZOFilm Launches Another Probe Zoom, With a Twist!”
ZEISS is ending 2024 with a last minute surprise announcement. Introducing the Supreme Zoom Radiance trio. This new set includes: 15-30mm, 28-80mm, and 70-200mm all at T2.9. The new ZEISS Supreme Zoom Radiance lenses feature the same T* blue coating as the popular Supreme Prime Radiance, delivering consistent flares and a warm color rendition. They are interesting additions to the cinema family complimenting the already unique Supreme Radiance Primes. Let’s take a look at the new Supreme Zoom Radiance lenses and see if they have enough shine to get your attention.
Continue reading “The Light Shines On New Zeiss Supreme Zoom Radiance”
Nikon’s upcoming NIKKOR Z 28-135mm f/4 PZ (Power Zoom) lens is aimed squarely at the filmmaking community, marking another step in the company’s ongoing efforts to cater to video professionals. While Nikon has long been a key player in the world of photography, this lens represents their latest attempt to break into the cinema lens market. However, a closer look reveals a mix of promise and potential areas for improvement.
Continue reading “Nikon Announces New 24-135mm f/4… Cine Lens?”
Canon has announced the launch of two new additions to their highly popular 8K Flex Zoom Cinema Lens Series—the CN-E14-35mm T1.7 and the CN-E31.5-95mm T1.7 Super 35mm format lenses. In addition, Canon is also introducing four new relay kits—the RL-S1 and RL-S2 (for Super 35mm) and the RL-F1 and RL-F2 (for full-frame). These relay kits allow each Flex Zoom lens to be adapted to suit different sensor formats, providing enhanced versatility and value for cinematographers.
Continue reading “Canon Expands Flex Zoom Series Cinema Lens Lineup”
This week DZO announced two new zooms to round out their existing zoom families. A 12-25mm T2.8 Super 35 Pictor zoom and a 18-35mm T2.9 Catta full frame zoom.
Continue reading “DZO Rounds out their Zooms”
Canon announced their new Flex Zooms last month with a slew of features that seem to check all the boxes that professional cinematographers have been asking for. But how true to their name are they?
Continue reading “How Flexible Are Canon’s New Flex Zooms?”
After quite a long break from cine-specific zooms (aside from their hybrid style Cine-Servo line) Canon has introduced a new series of lenses for the company’s EF Cinema Lens lineup. A 20-50mm and 45-135mm, both with a maximum aperture of T2.4 which one may thing is reasonably fast, but combined with an image circle large enough to cover Full Frame formats!? That’s impressive. Let’s take a closer look at the new pair of zooms and the features that really make them stand out.
Continue reading “Canon Announces Flex FF Zoom Lenses”
UK based lens mount manufacturer MTF Services has announced a new conversion kit which will allow the Fujinon MK zooms to be converted to L-Mount. If the kit is anything like the rest of their products, it ought to be a proper method for getting the MK zooms onto your Panasonic, Sigma, or Leica camera.
Continue reading “Fujinon MK L-Mount Kit from MTF Services”
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”