Revisiting NAB 2017

A look back at some of the best new products we saw at the industry’s leading trade show, a number of which we’ve since had a chance to review hands-on
NAB
Canon EOS C700 We’re taking a look back at some of the new products we got to check out at NAB 2017. We’ve since had a chance to review a number of them hands-on since this article appeared in print, so look for the links throughout this article. The National Association of Broadcasters (NAB) Show in Las Vegas is a massive, sprawling affair each... Read more

Putting Canon’s Dynamic Lens Duo To Work

The CN-E Compact-Servo zoom lens line expands with the CN-E 70-200mm T4.4 joining the CN-E 18-80mm T4.4
compact-servo lenses
I reviewed Canon’s then-brand-new CN-E Compact-Servo 18-80mm T4.4 zoom lens back in January of this year, and I found it to be an innovative take on the Compact-Servo zoom lens, inventing a new category, the low-cost, Compact-Servo AF S35 lens. I had a chance to put a prototype of the Canon CN-E 70-200mm T4.4, the new big brother to the 18-80mm,... Read more

We Got That Cooke Look

So long, F-stop, hello, T-stop! We shoot with the Cooke miniS4/i 32mm T2.8-22 on a Sony a7S II camera, and the results are amazing.
Cooke lenses
Have you ever wondered what a one-off cinema lens from a legendary manufacturer looks like attached to a Sony a7S II? After visiting the Cooke Optics factory, we did, so we tried one out. The results were lovely and left us at times amazed by the dimensionality, smooth rendering and quality. A Cooke lens of this type, the miniS4/i 32mm T2.8-22, is normally... Read more

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
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