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

By David Alexander Willis

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

By David Alexander Willis

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

Text & Photography By Mac Premo

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

By Jim Matlosz

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

By Jim Matlosz

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

By Neil Matsumoto

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

By Neil Matsumoto

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

By Neil Matsumoto

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

Go Cine-Style

Tokina Cinema ATX zoom lenses grant indie filmmakers entry into the cinema zoom lens world

By Neil Matsumoto

With a growing number of "priced-to-own" digital motion-picture cameras being released, such as Blackmagic Design’s URSA and AJA’s CION, shooters who like to own their gear are living it up. But the reality is that these shooters usually expend all of their resources on a camera body when they should be spending it on lenses. After... Read more

Glass Candy

The latest prime and zoom lenses for cinema production

By Neil Matsumoto

With high-end digital motion-picture cameras being cycled far more frequently, the window on getting a good return on your big investment is becoming increasingly short for cinematographers and filmmakers. With this in mind, having a good set of prime lenses or an all-purpose cine zoom might be a better bet. And now with 4K becoming the dominant capture... Read more