Cinema Lenses
The video department at B&H Photo is pleased to announce the 7artisans Vision Cine line of cine-style prime lenses for mirrorless cameras. Crafted expressly for video use, these 25, 35, and 50mm lenses feature a super-fast T1.05 maximum aperture, cine-standard 0.8 MOD gearing, lovely bokeh, and focus scales in both feet and meters. Each focal length comes in Canon RF, Sony E, FUJIFILM X, Leica L, and MFT mounts.
To help speed lens changes between shots,
ZEISS lenses have long been renowned for capturing sharp, accurate imagery for still photo and cinematographic applications. As some manufacturers continue to blur the line between still photo and digital cinema cameras, ZEISS has introduced several lens series that are ideal for content creators who are moving from stills to video or who work in both mediums. The lenses in these Batis,
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Our video team tests the DZOFilm VESPID Prime Lens Kit, which is well-suited for filmmaking productions, ranging from independent to studio. These affordable cinema lenses boast impressive build quality, versatile mount-ability, and stunning cinematic image quality.
Have you used any of these lenses? Share your experiences below in the Comments section!
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See how the brand new ARRI Signature Zooms were integrated into the emerging world of LED Video Wall and Virtual Production for a fashion shoot with the set design rendered in real time via Epic Games’ Unreal Engine.
Have you used ARRI Signature Zooms on your film or video production? Tell us about your experience in the Comments, below!
We here at B&H Photo are happy to share with you the news of the newest member of Tokina’s Cinema Vista line of full-frame lenses: the 65mm T1.5. Sharing the same features with other lenses in the lineup that make the Cinema Vistas an excellent choice for full-frame or VistaVision origination, the 65mm has the same robust build and quality, with a T1.5 maximum aperture and a 9-blade iris to deliver consistent exposure between lenses, thus avoiding relighting when swapping lenses, as well as maintaining the same pleasing bokeh.
The
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There is a new cinema zoom lens in B&H's inventory—the Sony FE C 16-35mm T3.1 G—and we are testing it on the Sony PXW FX6 cinema camera. This lens has been designed for filmmakers and video professionals, combining traditional cinema lens operability with the benefits of the Sony E Mount, which allows for autofocus and precise manual focus control. The 16-35mm offers superior sharpness, excellent resolution, a constant aperture of T3.1,
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B&H’s Michel Suissa talks with DPs Logan Schneider and Jimmy Matlosz about their experiences filming with ARRI’s Signature Zoom Lenses.
After you've enjoyed this conversation, learn more about The Studio at B&H Professional Services and shop for the ARRI Signature Zooms.
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Add a set of solid zoom lenses to your cinema rig for the studio, documentary, or field productions with the new Pictor 20 to 55mm and 50 to 125mm zoom lenses, from DzoFilms. Both lenses feature a 31.1mm image circle that is large enough to cover up to Super 35 sensors and a wide range of cinema cameras.
Go wide, wider, and widest with three new ultra-wide Laowa cine lenses from Venus Optics. These uniquely compact, fast lenses include a 15mm T2.1 Zero-D for full-frame cameras, a 9mm T2.9 Zero-D for Super 35 capture, and a 7.5mm T2.1 for Micro Four Thirds sensors. Each lens sports the same high-quality optical construction as the Venus still-photo lenses, but incorporates distinct, pro cine-style features. Venus Optics has also
The Meike 50mm T2.2 Manual Focus Cinema Lens, in an MFT mount, is the latest edition to Meike’s line of compact cine lenses for Micro Four Thirds sensors. Designed with an all-metal housing and low-dispersion glass with multi-layer coating, the lens is robust yet lightweight, and allows for reduced flare and ghosting, providing for increased color accuracy. The fast T2.2 maximum aperture ensures better performance
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Sony has just announced the Sony FX9 XDCAM Cinema Camera. Jeff Rojas sat down for an in-depth first look of the camera with Sony's Tom Cubby. A worthy successor to the Sony FS7 and FS7II, the PXW-FX9 features a new full-frame 6K Exmor R sensor, 15+ stops of dynamic range, dual native 800/4000 ISOs, a variable ND and fast hybrid auto focus.
Also announced, Sony’s new
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Sigma has always been that go-to lens for quality, reliability, and price advantage, compared to other high-end cinema lenses. And the company has just moved its cine lens lines forward again, at IBC 2019—and in a way, back in time. First, Sigma released a new PL to L-mount lens adapter to add PL lenses to cameras such, as the Sigma fp. Second, the company has updated its popular FF High Speed Prime lens line to a new Art Prime line, which include Cooke /i technology. And last and definitely not least, a new FF Classic Prime line has been
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Canon has developed a completely new line of fast PL-mount cinema primes, named Sumire, which are designed for beautiful rendering characteristics as they approach wide open. Jake Estes, from B&H, took this set of full-frame lenses out for a test shoot with the Canon C700 FF and shared his thoughts. The set included a 14mm T3.1,
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Cinematographer Mark Raker gets his hands on Sigma’s FF high-speed prime focal lenses and pairs them with a Canon C700 shooting at 5.9K and a Sony A7S II shooting at 4K. With specs like a 95mm front diameter, 0.8 moduling,
There is no current lens maker more prolific than Sigma. The company transformed its entire methodology when it introduced the Global Vision series and kicked up production. Focusing on stills lenses, Sigma has continued to impress with a flood of new releases each year and, with each announcement, seemingly better than the last. Now that Sigma has effectively mastered its stills game, the only sensible next step was the cinema market. After going hands-on with the three latest cine lenses in the FF High Speed Prime Line—the