Cine Lenses
Zeiss is adding three new T2.9 high-end cine zooms to its Supreme family of lenses: 15-30mm, 28-80mm and 70-200mm. Featuring the same T* blue coating that helped make the
Despite offering premium image quality and professional design, not all cine lenses demand a premium cost. In fact, if you know where to look and what you’re looking for, you can snag some truly solid optics at a relatively affordable price. Today, we’ll be looking at some of the best budget-friendly wide-angle cine lenses on the market.
Rokinon 14mm T3.1 Cine DS Lens
In recent years, Rokinon has solidified itself as an excellent solution for anyone looking for budget-friendly cine lenses that offer professional and reliable optics. The
Cooke changed the cinema game last year with the release of their lauded SP3 series of lenses, which matched the look of the legendary Cooke Panchro Classic lenses, but were available at a fraction of the size and cost. Now, Cooke is back with the all-new Cooke SP3 18mm T2.4, the widest SP3 yet, and an exciting addition to what was already one of the best sets of compact cine lenses on the market. Now available as a
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What makes Anamorphic lenses and their "look" so iconic? What is a squeeze ratio, and how do you desqueeze in post? Jabari explains all that and more in this crash course on anamorphic lenses.
0:00 - In This Video
0:28 - A Brief History
1:37 - Anamorphic Characteristics
4:20 - Anamorphic Pre-Production
7:37 - Anamorphic Post-Production
8:29 - Anamorphic vs. Spherical Footage
11:23 - When & Why Use Anamorphic Lenses?
If you've been reading up on the Sony BURANO 8K Digital Cinema Camera, you've probably heard that it's the first camera to pair IBIS (in-body image stabilization) with PL-mount lenses. This is huge news for shooters who like to go handheld, as their favorite PL glass can suddenly be taken off the tripod without the dreaded micro-jitters and small wobbles that typically happen when people rely on their bodies to support
You sit down with your cinematographer to prep for an upcoming shoot and they pitch you the idea of using vintage glass: “Wait until you see the character, the bokeh, the highlight falloff!” Sounds good to you, right? So, you pull out your laptop, click over to your favorite camera equipment rental site, pull up the catalog of vintage lenses, and, upon glimpsing the average cost of a Canon FD rental, immediately fall out of your chair. OK, maybe the Canon K-35s are cheaper. Nope, actually they're even pricier. Same goes for Contax Zeiss, Zeiss
DZOFilm is releasing a new series of Arles Prime Cine lenses that are incredibly fast, relatively compact, and can cover full frame and large format “Vista Vision” sensors found on cameras like the Red V-Raptor 8K VV. DZOFilm has built a reputation for high grade optics that don’t break the bank, and these new lenses should be popular with filmmakers shooting in low-light
Let’s face it: cinema lenses aren’t cheap, and for good reason. Cinema lenses are, generally, superior to conventional “non-cine” lenses in almost every regard. They’re more durable, offer better control, produce superior image quality, and so on. The only downside is the price you pay for the privilege of their performance; a top-tier cine lens can easily run you thousands of dollars.
But don’t reach for your
As the holidays quickly approach, the pace of new product launches slows but it doesn’t stop. This week, we have a good lineup for video production to highlight. A couple of cine lens lineups are getting tweaked this week, with Tokina revealing a new character-filled version of its full-frame cinema primes, the Vista-P series, and Samyang/Rokinon adding a
Announcing Canon's new offerings for its PTZ camera and cine lens lines—just in time for NAB. Canon has released an updated model of the CR-N700 Indoor PTZ camera, PTZ auto-tracking and auto-looping firmware updates, a 14-35mm T1.7 Cine Flex Zoom lens, a 31.5-95mm T1.7 Cine Flex Zoom lens, and multiple zoom lens relay kit upgrades. Canon will also be presenting the future MS-500 high-precision monitoring camera at NAB 2023, which is now in development.
Auto-Tracking and Auto-
SIGMA has recently released two new lenses, the 65mm T1.5 FF HS Cine Prime and the 65mm T2.5 Classic Prime. These lenses offer filmmakers and videographers an eleventh option in both of SIGMA’s Cine Prime lineups.
More is more when it comes to the Cooke S8/i Full Frame T1.4 Prime cinema lens line, which has increased its total number of focal lengths from seven to eleven with the addition of 18mm, 27mm, 35mm, and 65mm lenses. These new focal lengths are designed to mirror the same standards as their predecessors for easy integration into your preëxisting lineup.
New Cooke S8/i Full Frame T1.4
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What's the difference between cine lenses and photo lenses? Can you use your photography lens to film a video? Jabari Holder explains the pros and cons of each type of lens and shares best practices for each.
0:00 – Introduction
0:27 – The Pros of Cinema Lenses
4:13 – The Pros of Photo Lenses
5:53 – Summary
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Should you use manual focus or autofocus when shooting video? Using the Canon C70, Nick Brigadier tests various shots, such as the whip pan and tracking shot, to see which type of focus provides better results.
0:00 - Introduction
0:40 - Test 1
3:27 - Test 2
5:38 - Test 3
7:43 - Test 4
9:26 - When to Use Auto vs. Manual Focus
DZOFilm is rounding out its Pictor Zoom line with the new 12-25mm T2.8 Parfocal Cine Zoom Lens for Super 35 cameras in finish colors of black or white. Perfect for everyday portraits, landscapes, and nature footage, this lens also joins the 20-55mm and 50-125mm Pictor zooms in two new three-lens kits, also in