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.
Right on the heels of Canon’s newst announcement of their 17-120mm Cine-Servo zoom, Fujinon drops a bombshell with their newest addition to the Cabrio line of lenses: a 25-300mm. Fujinon’s press release doesn’t specify a T-stop, but a photo clearly shows an aperture ring with a T3.5 maximum marking. Not bad for a 12x zoom range. Fujinon says the lens will begin shipping in June but the servo unit won’t be available until Q3.
|Camera Format||PL Mount|
|Focal length||25 – 300 mm|
|Zoom Range||12 ×|
|1 : 3.5 (25-273mm)
1 : 3.85 (300mm)
|Focus Rotation (degrees)||280|
|Zoom Rotation (degrees)||120|
|M.O.D. from image plane||1.2 m / 3′ 11″|
|Object dimensions at M.O.D.
9 Aspect ratio*
|25 mm 937 × 527 mm
300 mm 77 × 43 mm
|Angular field of view
16 : 9 Aspect ratio*
|25 mm 57°32′ × 34°19′
300 mm 5°14′ × 2°57′
|Macro||Available as standard|
|Diameter × Length||136 × 401 mm|
|Features||• Detachable Digital Drive Unit – Optional
• Flange Focal Distance Adjustment
FUJIFILM’S NEW CABRIO OFFERS ZOOM RATIO OF 12X TO COVER 25MM WIDE ANGLE TO 300MM AT TELEPHOTO
Wayne, N.J., April 2, 2014 – The Optical Devices Division of FUJIFILM North America Corporation willannounce the latest addition to its popular series of cine zooms – the Premier PL 25-300mm Cabrio[ZK12x25] at the annual NAB 2014 convention, held in Las Vegas, starting on April 7th.. The company will exhibit in NAB Booth #C7025.
Equipped with a 35mm PL mount, the PL 25-300mm boasts a high zoom ratio covering the focal length of 25mm to 300mm. Like all Cabrio zooms, the PL 25-300mm supports an optional detachable drive unit for electric zooming, focusing and iris. Mounting the unit enables remote control of zoom, focus,and iris adjustment. It can be used as a self-contained ENG-style or cine style lens. When used without the drive, industry-standard cine motors can be fitted.
Designed using the latest proprietary optical simulation software, the PL 25-300mm offers exceptional optical performance in the center of the image and in the corners of the frame. The digital servo’s 16-bit encoding assures operators that all lens data output—including the position of the zoom, iris, and focus—is extremely accurate. The zoom supports Lens Data System (LDS) and /i Technology metadata formats, and can be controlled using cinema industry standard wireless controllers as well as existing FUJINON wired and wireless units.
FUJINON’s PL 25-300mm lens is the latest development in the company’s popular Cabrio series, which includes the recently introduced Premier PL 19-90mm, the PL 85-300mm, and the recently introduced PL 14-35mm lenses.
The PL 25-300mm zoom will be available in June of this year, the optimal digital servo drive approximately Q3
A presentation running on two monitors within the Optical Devices Division’s NAB booth will feature several of the industry’s top cinematographers, including Claudio Miranda, testifying to the unsurpassed versatility and image quality of the FUJINON cine-style lenses. This year also marks FUJIFILM’s 80th anniversary, and 40 years for the Optical Devices Division, formerly known as FUJINON, in the U.S.
Canon has announced their new 17-120mm T2.95 Cinema Zoom Lens. Usually we have to wait until at least the first or second day of NAB for major new gear announcements. Canon was kind of enough to provide their big news a week ahead of the big show. Canon announced their original Cinema EOS lenses back at NAB 2011 and were ready to ship in 2012. So far the feedback on the Canon cinema lenses, both zoom and primes, has been a bit slow to gaining traction, but they’re running at full steam now and there’s a lot of ground to cover. Continue reading “Canon Announces 17-120mm Cine Zoom Ahead of NAB”
UWZ… It’s pretty simple really. Ultra Wide Zoom. It’s not much of a zoom really with a mere 1.8x zoom range but who cares when you’re at 9.5mm! Arri’s newest zoom lens is something of a technical achievement and an answer to many cinematographers’ pleas for a high quality wide angle zoom lens option. While it’s range isn’t much to brag about, being just under 2x, it provides enough flexibility for a cinematographer to replace two or three prime lenses without sacrificing overall image quality. The real benefit of this lens is it’s rectilinear image and stunning quality across the entire image – all 33.7mm⌀ of it. Continue reading “Go Wide With Arri’s 9.5-18mm T2.9 UWZ”
Shane Hurlbut recently took a set of the Canon Cinema Compact Zoom lenses, 15.5-47mm and 30-105mm, complete with Multi-Mount and Zoom Motor Bracket as well as the two flagship lenses, the 14.5-60mm and 30-300mm with our Carry Handle and Motor Bracket kits out for a spin on his newest project that you may have heard of – Need for Speed.
I love what Duclos has made. They are ergonomically made to flow with the lens and they also incorporate a Haden M26T motor bracket to engage the zoom focal lengths. They are built like a brick house,
Check out his full article on his blog here – Adapting Your Canon Arsenal with Duclos: A Way for Filmakers to Increase Speed and Convenience on Set.