Every once and a while, we get a chance to sit down with cinematographers and content creators to geek out over glass. DP, Dan Levin, spoke with us about his experience being one of the first crews to shoot with Canon’s 18-80 Compact-Servo lens on his project Inside the FBI: Continue reading Canon 18-80 Compact-Servo On Location with DP Dan Levin
A favorite focal length of still photographers, and naturally of hybrid cinematographers bridging the gap between the worlds of still photography and motion picture, the new 70-200mm Compact-Servo is sure to be an ideal choice for the ultra-light documentary shooter. Canon’s 18-80mm Compact-Servo was announced about the same time last year, just ahead of NAB 2016. If you’re unfamiliar with the Compact-Servo line, imagine all the camera operators in the world using Canon’s L series still lenses. Now imagine half of them called Canon and complained that their L series lens doesn’t hold focus through the zoom and it doesn’t have integrated gears, and the focus isn’t reliable or repeatable… Then imagine Canon going to their engineers and explaining this – and that’s where we get the Compact-Servo zooms. Continue reading Canon Expands Compact-Servo Line with 70-200mm Tele-Zoom
Ahead of NAB 2017, Angenieux has announced another addition to the Optimo Style line of zooms – a 48-130mm T3. The 48-130mm features a 2.7x zoom range along with the other lightweight Optimo Style zooms, the 16-40mm and 30-76mm. It weighs 4.3 lbs and Angenieux states it is idea for hand held, steadicam and drones productions. Continue reading Angenieux Adds 48-130mm to Optimo Style Line
Fujifilm has been busy… If you’re a Fuji fan like I am, you’ve been completely obsessed with the new GFX mirrorless medium format camera and haven’t been paying attention to the other projects they’ve been working on. Which, when you think about it – is mind boggling, that Fujifilm is doing so much at once. This particular move is a bit different for Fujifilm. Instead of making something that fits tightly into their own ecosystem, Fujinon Optical Systems has designed and manufactured a purpose built cinema lens, exclusively for E-mount cinema cameras. A whole new line they’re calling the MK series. The first lens in the line will be the brand new MK18-55mm T2.9. Let’s explore!
Continue reading Fujinon’s New MK Series Launches With An 18-55mm T2.9, TRY IT at Duclos!
I’ve written about the Tokina 11-16mm many, many times. In fact, I was temporarily banned from REDUser years ago for backhandedly plugging the Duclos 11-16mm conversion – breaking the rules of the forum. I’ve since cleaned up my act (sort of). I speak often of the Duclos 11-16mm, and when I do, I always give credit to Tokina for making such a great product. I wanted to take a post here and acknowledge the original lens, it’s heritage, influence, and evolution over the past (nearly) decade. Continue reading Tokina’s Gateway to Cinema: The 11-16mm
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
Just ahead of the European trade show trio, Zeiss has lifted the veil on their newest zoom lens project – The 21-100mm T2.9-3.9 LWZ.3. A Super 35 format, 4.7x cinema zoom lens weighing in at a mere four and a half pounds. We’ve got the scoop on Zeiss’ newest light weight zoom lens.
Continue reading Zeiss Revives LWZ Line With New 21-100mm T2.9-3.9 LWZ.3 Zoom
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
It was only a matter of time before Angenieux anamorphasized it’s 25-250mm Optimo Style and here it is. A 44-440mm T4.5 2X anamorphic zoom. This lens rounds out the rest of Angenieux’s anamorphic line-up which consists of a wide 30-72mm T4, and the mid-range 56-152mm T4. Let’s take a look at some of the finer details of this brand new anamorphic telephoto zoom. Continue reading Angenieux Reveals New Anamorphic Zoom Ahead of NAB
Back in April, at NAB, Cooke teased us all with a silhouette of a new zoom lens – the first zoom from the manufacturer since the workhorse 18-100mm, or if you recall the 15-40mm CXX from 2004… Then at Cine Gear earlier this year Cooke gave us a few more hints including the fact that the lens will be anamorphic. Continue reading Cooke Unveils Details of New Anamorphic Zoom
In this post, we’re going to take a quick look at the Canon 50-1000mm Cine-Servo – a lens that some may consider impractical or unnecessary. I disagree! A few weeks back I had a client that was considering adding Canon’s new super zoom to his kit. He does a lot of wildlife and nature documentary work but didn’t think that 1,000mm was a reasonable range. If you asked me that same question six months ago I probably would have agreed. However, after some hands-on time with the lens here in the shop, I’ve definitely found the silver lining. Continue reading Quick Look: Canon 50-1000mm Close Focus Performance
Here’s a unexpected announcement. The first thought that comes to mind is, what glass is this? My guess is Leica R series 35-70mm. Check out the press release from P+S Technik below. Continue reading P+S Thechnik Announces 35-70mm Anamorphic Zoom
Zeiss showed a very basic prototype of their upcoming Servo Unit back in April at NAB (read more on that here). They’ve just released some additional details and specs to accompany their updated prototypes to be shown at IBC in a few weeks. Check out the details and decide for yourself if a servo unit mounted to a compact, lightweight, full-frame, 4k zoom lens is going to benefit you and your workflow. Continue reading Zeiss Releases More Details About Their CZ.2 Servo Unit
Fujinon started a trend when they took their professional mid-range cinema zooms and slapped on a servo unit borrowed from their Broadcast Division. The result was the very successful 19-90mm Cabrio zoom, followed shortly by the 85-300mm Cabrio and just recently the 14-35mm Cabrio. During NAB 2014, or as I call it, Spring Christmas, Angenieux, Canon, and Zeiss all announced lenses with servo units in various practical applications. Credit where credit is due, Fujinon started it… Continue reading 2014, Year of the Servo Lenses
Not to be outdone by other recent announcements from Canon and Fujinon, Angenieux announced today a new line of Optimo Style lenses that will be added to their extensive, respectable line of professional zoom lenses. The press release details the new lenses as a 16-40mm and a 30-76mm. The two new lenses with be offered with or without their new Angenieux Servo Unit (ASU). No word on the speed of the lenses just yet but it’ll likely be between T2.6 and T2.8. If you’re familiar with Angenieux’s current line of Optimo (15-40mm and 28-76mm) and Optimo DP (16-42mm and 30-80mm) lenses, it may sound like the new Optimo Style line is simply another variation on their existing lenses. The Optimo DP 16-42mm and 30-80mm will be discontinued as individual lenses and available in pairs tuned from the factory as a 3D package. The new Optimo Style lenses will also feature interchangeable mounts in Arri PL, Canon EF, and Panavision flavors. Both new Optimo Style lenses will weigh in at a very nice 4.2 lbs. – almost half the weight of other “lightweight” zooms available. Angenieux goes into more detail noting that these lenses are tailored for high standards of UHD 4K production and will be available Summer 2014.
Other bits included in the press release simply cover existing lenses, shipping soon the new 25-250mm Optimo and their now shipping 56-120mm S2 Anamorphic Zoom. One other detail new to the press release is the Angenieux Servo Unit (ASU) which Angenieux had mentioned about a year ago but has just now officially announced it. the ASU will work with all of the lightweight Optimo lenses. This now makes three manufacturers who have jumped aboard the CinENG train. (I just made that up: Cine + ENG = CinENG get it?) The (ASU) provides control of zoom, focus and iris and is compatible with broadcast remote handles, cinema remote controls and wireless remotes. It generates lens metadata based on the Cooke/i technology protocol. The ASU and lenses are matched and calibrated at the factory.
Read the full press release below and check back often for live updates from NAB where we’ll find out what the real details are behind the new Optimo Style line of lenses. New optics? Rebranding? Either way, Angenieux has a reputation all over the world for making top-notch cinema zooms.
Press Release from Angenieux
Thales Angénieux Debuts New Optimo Style Lens Series at NAB
Charting New Course for 4K and Beyond Live TV and Mid-Budget Cinema Productions
Las Vegas, NV (April 4, 2014) – Inspired by the escalating demands for cinematic quality content to meet the rise of multimedia viewing and the trend of Ultra definition television, Thales Angénieux is introducing their new Optimo Style Series of zoom lenses. The family features three zooms – two hand-held and one full size — and provides focal length from 16mm-250mm with ability to lengthen the range with a 2x extender. The two lightweight zooms are also available with the optional Angénieux lens servo motorization system.
“A wider spectrum of production content is migrating to a cinematic look with 4K quality and that trend requires equipment which is adaptable to a large variety of cameras, configurations and budgets,” said Pierre Andurand, President and CEO, Thales Angénieux. “The all-new Optimo Style Series addresses those needs and provides a benchmark for quality and price/performance. It takes into consideration the industry’s most stringent requirements for ergonomics and versatility for live TV recording. Angénieux is going to exceptional lengths to ensure the first deliveries of this new lens line will be made in Summer 2014.”
The 16-40mm and 30-76mm zoom lenses are extremely light weight at only 4.2 pounds each, allowing perfect camera balance for on the shoulder or hand- held configurations. The 25-250mm lens, weighing 16 pounds, is an all-purpose zoom featuring the
desirable 25mm wide angle position and a 10x zoom range to meet a variety of production needs. This lens was previously introduced at IBC 2013 branded Optimo DP.
The Optimo Style series is fully compatible with the latest generation of digital cameras and provides the unique cinematic look of the Optimo line at an affordable price. The lenses additionally feature an easily interchangeable mount (PL, Canon EF, Panavision) for full compatibility with a wide variety of cameras.
The Angénieux Servo Unit (ASU) provides control of zoom, focus and iris and is compatible with broadcast remote handles, cinema remote controls and wireless remotes such as Preston or others upon request. It generates lens metadata based on the Cooke/i technology protocol. To help ensure flawless performance, the ASU and lenses are matched and calibrated at the factory. The ASU will additionally be available as an option for all the Optimo Lightweight Cine Zooms including the Optimo Style 16- 40 and 30-76 and the Optimo 15-40, 28-76mm and 45-120mm lenses.