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by Zack Young · Posted
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
Posted
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?
by Stepan Andranikian · Posted
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
by Zack Young · Posted
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
by Zack Young · Posted
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
by Jennifer Hahn · Posted
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-
by Jordan Gallant · Posted
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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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
by Jennifer Hahn · Posted
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
by Jordan Gallant · Posted
DZOFilm is unlocking new horizons (literally) with its newest addition to the wide-angle Catta Ace and Zoom lines: the 18-35mm zoom lens. Boasting the same T2.9 maximum aperture, focus and zoom rotation, and full-frame sensor coverage as the 35-80mm and 70-135 zoom lenses, the 18-35mm lenses have reliable, familiar features to expand your lens loadout.
Catta Ace and Zoom Line
These new lenses are
by Mary Latvis · Posted
"Anamorphic for All" is the goal of The Atlas Lens Co., and The Studio-B&H is proud now to offer the entire line of Atlas Lens Co. lenses to the filmmaking industry. The current Atlas lineup consists of eight Orion 2x T2 S35 primes, five Mercury 1.5x Full-Frame lenses, and the limited-edition set of six Silver Orion primes. Designed by cinematographers for cinematographers, these relatively affordable lenses are poised to bring an
Posted
Jabari Holder tests the Sigma 65mm T1.5 FF High-Speed Cine Prime Lens against its 50mm and 85mm counterparts. This lens adds more versatility to a filmmaker's kit while maintaining the build and quality of Sigma's cine primes.
0:00 - About Sigma's Cine Lineup
1:
by Jordan Gallant · Posted
by Jordan Gallant · Posted
Designed with the arthouse filmmaker in mind, DZOFilm’s limited-edition VESPID Retro 7-Lens Kit with Hard Case features seven PL-mount lenses of varying focal lengths, with silver detailing, for a complete system suited for full-frame cinema cameras. The kit embraces the “retro” look while executing modern imagery.
by Jennifer Hahn · Posted
Sigma has just announced two new additions to its Cine Lens lines, bringing the 65mm focal length to the already impressive lineup. The 65mm T1.5 FF High-Speed Cine Prime is a welcome addition to the high-speed Cine Prime line that already includes 20, 24, 28, 35, 40, 50, 85, and 105mm models. Meanwhile, the new