Tag: zoom

News

Angenieux and Cooke Join Anamorphic Forces

by Matthew Duclos7 Comments on Angenieux and Cooke Join Anamorphic Forces

cookenieux

It’s always nice to see two well established companies collaborating. Just ahead of NAB 2013, seeing Angenieux and Cooke work together is a perfect example. Cooke has a long history of making some amazing prime lenses. Angenieux sets the standard for motion picture zooms. Imagine the things they can do, combined. Just this morning, an announcement of just that, a collaboration, was released and the results are nothing short of excellent. Cooke will be offering a completely new line of anamorphic primes that will be about the same size and shape of their S4/i line of lenses, color matched with 5/i primes. Not to be outdone, Angenieux is releasing a professional anamorphic zooms lens to complete the Cooke prime line-up. Now you can have a complete set of primes and zooms, all anamorphic, all matched, all professional grade. Continue reading “Angenieux and Cooke Join Anamorphic Forces” →

News, Review

Canon Lightweight Zoom Universal Mount From Duclos Lenses

by Matthew Duclos8 Comments on Canon Lightweight Zoom Universal Mount From Duclos Lenses
Canon-lens-side
Canon’s new 15.5-47mm with factory Canon EF mount.

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” →

News, Review

Zeiss CP.2 & CZ.2 Video Showcase

by Matthew Duclos2 Comments on Zeiss CP.2 & CZ.2 Video Showcase

A lot of folks want to see actual footage instead of just numbers when it comes to the practical look and feel of a particular lens. And as usual, Zeiss delivered. Here is a small collection of short videos that feature different primes and even a few zooms that Zeiss currently offers. The first video is a “Sizzle Reel” with a lot of quick takes from different scenes using different lenses. Zeiss used a range of focal lengths including the 15mm T2.1, 21mm T2.9, 25mm T2.1, 28mm T2.1, 35mm T2.1, 50mm T2.1, 85mm T2.1, 100mm T2.1 CF, 135mm T2.1, and lastly the 70-200mm T2.9 and shot a nice panning shot and a static rotating shot with each focal length. Take a look and gather all you can from this collection of results.

CP.2 Sizzle Reel – © 2012 Carl Zeiss AG

Continue reading “Zeiss CP.2 & CZ.2 Video Showcase” →

Tutorial

Zoom Lens Overload

by Matthew Duclos17 Comments on Zoom Lens Overload

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. 🙂

News

Zeiss Reveals New Lenses

by Matthew Duclos5 Comments on Zeiss Reveals New Lenses

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.

Continue reading “Zeiss Reveals New Lenses” →

News

Zeiss Teases New Lenses, IBC 2012

by Matthew Duclos9 Comments on Zeiss Teases New Lenses, IBC 2012

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” →

Review, Tutorial

More Lens Options Than Ever

by Matthew Duclos26 Comments on More Lens Options Than Ever
Photo by Phil Holland http://www.artbyphil.com/phfx/photography/lensTests_SALTII2012/bigs/_MG_1032.jpg
Photo by Phil Holland @ Salt Test II Duclos Lenses

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” →

Snaps

Duclos 11-16mm Nikon-F Mount

by Matthew Duclos5 Comments on Duclos 11-16mm Nikon-F Mount
Duclos 11-16mm Nikon-F Mount

We’ve been building our 11-16mm lenses as quick as we can while still maintaining the highest quality standards we can. We’ve received great feedback from a lot of satisfied customers and look forward to continuing to fill orders. There are quite a few back-orders still but rest assured, we are working diligently to fill orders as quickly as possible. This particular photo is our Nikon-F mount model. We offer the lens in PL, Nikon-F, and Canon-EF. Such a versatile little beauty. 🙂

Lens Guts, Snaps

Lens Guts: RED 18-85mm

by Matthew Duclos5 Comments on Lens Guts: RED 18-85mm
Lens Guts: RED 18-85mm

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. 

Snaps

Angenieux 17-80mm Optimo

by Matthew Duclos2 Comments on Angenieux 17-80mm Optimo
Angenieux 17-80mm Optimo
Angenieux 17-80mm T2.2 on the test projector.

A quick snap-shot while bench testing a 17-80mm for periodic maintenance. The modern breed of exotic zooms are both work-horses and delicate instruments of perfection at the same time. They require the highest level of calibration to perform at their maximum potential. The 17-80mm was the second lens to join Angenieux’s Optimo team back in the mid 2000’s and is still one of the best 35mm zoom lenses on the market. After regular use on a television series, this particular Optimo only needed minor back-focus calibration and exterior cleaning. It’s no wonder Angenieux is having trouble keeping up with demand for their zooms.

News

RED’s 17-50mm Reincarnation

by Matthew Duclos2 Comments on RED’s 17-50mm Reincarnation
RED’s 17-50mm Reincarnation

RED recently announced that they were redesigning the front housing on their 17-50mm T 2.9 zoom lens. The previous housing had an abnormally large front diameter. The optics measured roughly 80mm at the front whereas the housing was a whopping 144mm. This made it very difficult to use the lens for 3D work since the lenses couldn’t be positioned close together. The lens is relatively light weight, but when paired with a matte box that was able to accommodate such large front, the rig suddenly becomes quite heavy.

Previous front housing design of RED 17-50mm.

Well, this is proof that REd listens to their customers. There is absolutely no reason, other than pleasing their customers, to change the housing of their lens. BAM! Well done RED! The new housing is a rather common 114mm diameter and will look relatively similar to the RED Pro Prime lineup. As far as I can gather, this is how the lens will ship from here on out. RED is offering an upgrade for existing lenses for a mere $250. If you ask me, this is a great deal. The material alone probably cost close to $200 for RED. So stop complaining about the salad bowl that is your 17-50mm RED and send it in for this upgrade.

News

Angenieux Adds 45-120mm to Their Optimo Line

by Matthew Duclos6 Comments on Angenieux Adds 45-120mm to Their Optimo Line
Angenieux Adds 45-120mm to Their Optimo Line

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.

Interchangeable Nikon F and Canon Eos Mount.

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.

Optional 1.4x and 2x extender (PL mount only?)
News

Canon PL Zooms

by Matthew Duclos3 Comments on Canon PL Zooms
Canon PL Zooms

Canon is releasing a couple of PL mount zoom lenses. Some might think this is a step in a new direction for Canon but they had great success with their 16 format zooms back in the late 80’s in the form of a 11-165mm and 8-64mm that were based on some of their popular video lenses.The optics and core mechanics were transplanted into a cinema friendly housing. The lenses worked great and performed very well. You can still find them floating around rental houses and private owners basements since they only cover a very small 16mm film format.

Canon's previous 11-165mm S-16mm lens.

Canon’s new lenses will be native PL mount and will cover an image circle of 27.5mm which includes APS-C sensors. The RED One requires an image circle of 28mm so you’re pushing it there… It certainly won’t cover the Epic camera with a required 33.5mm image circle. I would be willing to bet the telephoto of the two would have a larger image circle as is the case with most lenses. The focal lengths are going to be 14.5-60mm T2.6 and a 30-300mm T2.9-3.7. The 14.5-60mm size will be a little smaller than an Angenieux 17-80mm but larger than I would care to hand hold. T2.6 is a nice aperture for the smaller zoom but the 30-300mm will ramp and nobody likes a zoom that ramps. 🙁

If these two zooms are similar to Canon’s previous lens ventures, then they should perform very well optically and mechanically. I look forward to seeing these pups at NAB and bench testing them when they come to market. Good luck, Canon!

Review

Cine Zoom Comparo: France vs. England

by Matthew Duclos1 Comment on Cine Zoom Comparo: France vs. England

The Cooke 20-100mm is a workhorse of a zoom lens. It’s solid build quality combined with classic “Cooke Look” glass make it a very desirable lens in the current HD market. The other option is to drop a pretty penny on a stellar new Angenieux 24-290mm. The current champion of motion picture zoom lenses. These two cinema zoom lenses are decades apart and even farther apart in cost. An average Cooke 20-100mm costs a mere $7,000 compared to the going rate for a new Angenieux 24-290mm at around $63,000. A little background on these still samples. These were shot with a 35mm full frame 5D which means the vignetting is severe and expected. The settings were the same for each lens, 100mm at T4, ISO 100, 5100K color temp etc. Here are the samples.

Continue reading “Cine Zoom Comparo: France vs. England” →