Cooke Optics UK Factory Tour

How to get the Cooke Look
Cooke Optics lenses
A vintage Cooke Optics lens Cooke Optics has been making lenses for 130 years, and their coatings haven’t changed much since the ’60s—that’s what contributes to the Cooke Look cinematographers want on their digital bodies, like RED and ARRI. The coatings are like pixie dust and seen here (decades of them built up) on a flange. The flange holds... Read more

Fujifilm FUJINON MK Series Cine Lenses

FUJINON presents the MK Series to Hollywood at the ASC Clubhouse, discussing the design and challenges of the new line
Fujifilm Fujinon MK lenses
The Fujifilm Fujinon MK18-55mm T2.9 and MK50-135mm T2.9 Super 35 zooms for E-mount cameras Attended by cinematographers Nancy Schreiber, ASC (see our interview with Nancy Schreiber, ASC, on her historic legacy in film and television production here), Bill Bennett, ASC, Eric Longden, Joe Slavin and Izzy Pollak, Fujinon Optical had a Hollywood premiere... Read more

Hands-On With Canon’s New Compact Servo 18-80mm T4.4 EF Lens

Combining the best features from other Canon lens lines to create an optic ideal for shooting handheld event and doc footage
Canon Compact Servo 18-80mm T4.4 EF
Canon’s new 18-80 Compact Servo lens is a unique new lens for several reasons. Canon took the best features from three of their other lens lines and magically blended them together into something incredibly useful to anyone who shoots handheld event and documentary footage. Canon recently shipped me an evaluation copy of the 18-80 Compact Servo to... Read more

New Rokinon 20mm Cinema, DSLR And Mirrorless Primes

New full frame Rokinon $599 Digital Photo 20mm F1.8 and Rokinon $899 Cine DS 20mm T1.9 primes for Canon, Nikon, Sony, Micro Four Thirds and more joins three lines of available Rokinon digital lenses
New Rokinon 20mm Cinema, DSLR And Mirrorless Prime Lenses New full frame Rokinon $599 Digital Photo 20mm F1.8 and Rokinon $899 Cine DS 20mm T1.9 primes for Canon, Nikon, Sony, Micro Four Thirds and more joins three lines of available Rokinon digital lenses
Differing only in weight, length and iris, Rokinon has announced two similar but slightly different 20mm primes. Joining their separate Digital Photo and Cine DS families of prime lenses, the more expensive Cine DS Rokinon 20mm has a T-stop iris measurement of T1.9 while the Digital Photo 20mm has the almost exact same aperture at f/1.8. (T-stops quantify... Read more

Raptor Cine Lenses From IB/E And Band Pro

Beginning with 100mm, 150mm and 180mm focal lengths, two companies are collaborating on the Raptor line of lenses for cinema cameras, capable of full-frame coverage for the new breed of large-sensor camcorders
Starting with a 100mm, 150mm and 180mm, the Raptor family of prime cinema lenses will cover full-frame sensors.
Starting with a 100mm, 150mm and 180mm, the Raptor family of prime cinema lenses will cover full-frame sensors. Featuring 1:1 macro magnification, a consistent T2.9 aperture across the lens range and full-frame coverage that’s large enough to cover the upcoming wave of large-sensor cameras from corner to corner, the brand-new Raptor line of full-frame... Read more

At A Glance: Leica Summilux-C Cine Lenses

With industry-leading focus scales, consistent lens dimensions through the range and corner-to-corner illumination across the Super 35 image circle, this 12-lens set of PL-mount primes are cinematic perfection
Leica Summilux-C Cine Lenses
A 16mm has proven so popular that it’s currently backordered through the year. In February 2015, the development team behind the Leica Summilux-C range of PL-mount lenses received the Scientific and Engineering Award® from the Academy of Motion Picture Arts and Sciences for technical innovation. This, after only four years of existence, during which... Read more

The Zeiss Legacy Continues

The new Milvus lenses, the latest line of primes from the famed German manufacturer, are designed to work with full-frame HDSLR cameras using larger, high-resolution sensors

I see craft as the packaging for the concept. Ideally, the specifics of a particular craft are presented to advance an idea: Think how the perfectly aligned corners of a mid-century piece of furniture advance the notion of elegant simplicity or how the rough edges of a refurbished farm wood table make rustic allusions. All this is to say that my goal... Read more

Wireless Lens Control, ARRI Style

With three-axis lens control and a lens data display, the WCU-4 is an impressive remote system in an ergonomic housing

Designed to work seamlessly with the ARRI ALEXA line of cameras—the Plus, Plus 4:3, XT/SXT Plus, Studio, XT/SXT Studio, 65 and Mini—ARRI’s Wireless Compact Unit WCU-4 is a lightweight, handheld, remote-control system for lenses. No motor controller or extra power is required to use the WCU-4, as each camera possesses its own onboard wireless... Read more

Hawk V-Lite Vintage ’74 Anamorphics

This lens system from Vantage offers contrast, flare and other old-school “flaws” reminiscent of 1970s cinema built with state-of-the-art Hawk mechanics

Digital sensors continue to improve in quality of image capture, allowing filmmakers to push their creativity and experiment with a variety of specific looks. Yet, as lens manufacturers continue to reach new heights in lens quality, cinematographers are often found degrading new lenses, applying techniques and know-how to "take the edge... Read more

Canon’s Prime AF Power

Canon to release a new EF 50MM F/1.8 STM lens

Canon U.S.A. just announced the STM lens we’ve been waiting for – the 50mm f/1.8 STM standard lens. The prime features a maximum aperture of f/1.8, and is suited for portrait photography with shallow depth of field (it’s an 80mm when attached to a Canon APS-C sensor). The lens is also ideal for low-light photography and night scenes.... Read more

Flare On

The new ARRI Master Anamorphic Flare Sets give your Master Anamorphic lenses more creativity and control on set

It’s been a busy few weeks for ARRI, which is looking to make a huge splash at NAB 2015. With the announcement of the ALEXA Mini and ALEXA SXT, ARRI will also be showing their new ARRI Master Anamorphic Flare Sets for their Master Anamorphic lenses. As you probably know, anamorphic lenses – along with ARRI’s ALEXA Plus 4:3 Super 35... Read more

Widescreen In A Digital World

Anamorphic prime and zoom lenses are making a comeback

The anamorphic format was developed during World War I in order to give soldiers a wider view while traveling in tanks. But in the ’50s, with the explosion of television, 20th Century Fox took the technique and created CinemaScope, a marketing ploy to lure audiences back to movie theater seats instead of their couches. So what exactly are anamorphic... Read more