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by Staff Writer · Posted
Take pounds off your camera with new Rokinon XEEN CF cine lenses, made with lightweight carbon fiber, just announced at IBC 2019. Coming soon in 16, 24, 35, 50, and 85mm models, the XEEN CF cine lenses are compact in size and weight across the line, perfect for gimbal and drone usage. And sporting that carbon fiber weave, they look pretty cool, too.
Rokinon 24mm T1
by Staff Writer · Posted
Tokina expands its impressive line of Cinema Vista prime lenses with the 135mm model, at IBC 2019. Like its 18, 25, 35, 50, 85 and 105mm prime siblings, the 135mm features a fast T1.5 aperture and covers large sensors with its 46.7 image circle, such as 35mm full-frame, VistaVision, and the latest RED MONSTRO 8K VV sensors. The 135mm Cinema Vista prime is available in
by Justin Dise · Posted
What began as a tool and technique for capturing and projecting wider aspect ratios on 35mm film, anamorphic lenses are a runaway favorite among cinematographers for the unique characteristics they bring to moving images. Ultra-wide rectangular aspect ratios, long horizontal lens flares, and oval bokeh (the out-of-focus areas of the image) now feel as much a part of the cinematic experience as a bucket of popcorn and a liter of soda.
So how do anamorphic lenses work? The term anamorphic derives from the Greek words meaning ”formed again.”
1,321 Views· Posted
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,
by Mary Latvis · Posted
Floating up, up, and away with your drone-mounted E-mount DSLR? Go wide, wider, and widest with the new 18mm T2.8, 15mm T.3.5, and 12mm T2.8 E-mount MicroPrime CINE lenses from SLR Magic. In addition
by Mary Latvis · Posted
Take it all in with Tokina’s Cinema ATX 11-20mm PL-mount zoom lens, also available in EF, MFT, Sony E
462 Views· Posted
Doug Guerra, from B&H, reviews the Sigma 105mm T1.5 Cinema Lens, a fast lens that renders incredibly shallow depth of field, optimized for shooting up to 8K. Watch the video for more features and footage taken with this powerful lens. We hope you enjoy the video, and invite you to view the wide selection of other instructional and informative videos at BandH.com.
by Mary Latvis · Posted
by Mary Latvis · Posted
We at B&H Photo are pleased to announce the new line of full-frame lenses from pro-cine lens maker Zeiss, the Supreme Primes. These high-end lenses feature full-frame coverage in a relatively lightweight, compact form, suited for a wide range of rig configurations. Use the Supreme Primes to capture stunning images with large-format cameras like the
by David Adler · Posted
The SLR Magic booth was lined with cinema lenses, running the gamut from E-mount to PL mount and spherical to anamorphic. New at this show, however, are more options for E-mount cameras by way of the MicroPrime CINE series of lenses. Optically speaking, these lenses feature the familiar optics of their currently available Cine lens line, but housed in a cinema-grade metal exterior with matching dimensions and focus/iris gear positioning, with a lens ring marked in T-stops instead of F-stops.
25mm, 35mm, 50mm, and 75mm focal lengths will be
by Shawn C. Steiner · Posted
Better known for filters, NiSi dove headfirst into the cinema-lens world with the company’s announcement of the F3 prime lens series. Currently comprised of a 25mm T2.1, 35mm T2.0, 50mm T2.0, 75mm T2.0, and 100mm T2.0, this full-frame set is optimized for current-generation high-resolution sensors and, with 46.5mm of coverage, will work with all the latest and greatest camera systems, including the ARRI Alexa LF, Red Monstro VV, Canon C700 FF, Sony Venice, and plenty more. The lenses also offer a distinct style and look, with stylized flare
by Mary Latvis · Posted
If you’ve lived in New York long enough, it’s bound to happen to you one day as you turn a corner: you’ll be gazing from the sidewalk as a movie, TV show, or commercial is being shot. You may ask yourself, “Who are all those people besides the actors standing around on the set?” Read on to discover the crew positions that you’ll find listed in the credits of most professional productions, and how, despite appearances to the contrary, the crew is indeed putting in a full day’s work, and then some.
As befits B&H Photo Video’s focus on all
by Steven Gladstone · Posted
Just in time for NAB 2017 comes the Canon 70 – 200mm T4.4 zoom lens in EF mount. Covering the Super35mm format and weighing slightly more than two-and-three-quarter pounds, this lens is a bit longer than 7 inches and covers commonly used focal lengths, maintaining a constant T4.4 over the entire zoom range. As you would expect from a cine lens, this one is parfocal, which means that focus does not shift as you change focal length (zoom). Fitting into Canon’s lineup of cinema lenses, the 70 – 200 matches the color characteristics of Canon’s
by Mary Latvis · Posted
If you’ve taken the plunge and invested in one, two, or a full set of cine-style lenses, you’ll now want to take the best care possible of your lenses. Not only will the lenses function better if they’re properly maintained, but you’ll be protecting your (probably substantial) financial investment. Most cine-style lens care and maintenance is the same as for still or ENG-type lenses, so if you’ve made the switch from these other lens types, you’ll know the drill.
Carrying Cases
When transporting your cine lenses between locations, although
by David Adler · Posted
In an earlier article comparing cinema lenses and still photography lenses, I made the point that photography lenses could be modified with aftermarket accessories and procedures to make them more “video and cinema friendly.” Since DSLR and mirrorless cameras started to shoot video, there has been a massive interest in using the readily available photography-lens catalog for shooting video. Many of these lenses, optically speaking, are