» Posts Tagged ‘lens’

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Zacuto-gratical-evfIf you’re doing any kind of ENG or documentary shooting with DSLRs and large sensor video cameras, you may be longing for the servo zooms and rocker switches of smaller-sensor cameras. Zacuto is introducing a new control grip and motor to give this functionality back to almost any lens and camera setup, so that you can go back to operating in a comfortable way zooming with one hand and focusing with the other. The company is also bringing out a bunch of other new products, including an update to their EVF, which will now feature an OLED display. More »

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Zeiss OtusIn 2012, Zeiss announced that a brand new stills lens was in the works, one that would achieve perfection in optical performance through a no-compromise approach. Fast forward to November of 2013, and the company released the Otus 1.4/55, a prime lens that truly is uncompromising in all aspects of its design. While many of us are familiar with the Zeiss ZE glass for video work (great lenses), we have yet to see how the Otus would fare in a video setting. Luckily, filmmaker August Bradley managed to get his hands on an early pre-release version of the Otus, and he shot a delightful little concept piece called Zoetrope Optika that truly showcases the flawless performance of this marvelous lens. More »

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anamorphotWhen Letus announced their $1,700 anamorphic adapter, the AnamorphX, back in September, many of us were still waiting patiently for official news on SLR Magic’s answer to anamorphic shooting. That news came yesterday with the official announcement of their Anamorphot 1.33x 50. Originally pricing it to be around $1,500, SLR Magic has managed to keep the price point of the Anamorphot conducive to independent filmmakers, offering the adapter for $899. SLR Magic is currently taking pre-orders, but only until February 14th, after which the adapter (as well as their 77mm Achromatic Diopter set) will officially go on sale sometime in April. Continue on for more details. More »

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Canon CES 2014 Lens InternalsWhile Sony introduced a lower-cost consumer 4K camera, and Panasonic showed their own 4K solution within the GH camera line, Canon was relatively quiet at CES 2014. What they did show, however, was a fascinating look at the internals of their lenses, more specifically the new STM lenses designed to be used for both video and stills. We’ve also got another showing off STM technology, and a slightly dated making-of for Canon’s over-$10,000 500mm lens. More »

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GoProAt the time of the announcement of Letus’ 1.33X Anamorphic Adapter for the GoPro, the AnamorphX-GP, there wasn’t any footage to share in order to show you what you can expect, nor was there a release date. Now, Jared Abrams of Wide Open Camera has uploaded a couple of videos that give his first impressions of the adapter, as well test its capabilities, and Letus Direct says its estimated availability date is set for the end of the month. Continue on to get your first glimpse of some GoPro Hero 3+ footage through Letus’ anamorphic eye. More »

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Letus 1.33X Anamorphic GoPro HERO3 PlusSome of you might already be asking why anyone would want this, but really you should be asking why this didn’t happen sooner. All joking aside, there are some cool side effects and very real benefits to this new GoPro 1.33X Anamorphic Adapter from Letus. They’ve already introduced an adapter for DSLRs and other large sensor cameras, and now they’re taking things to the miniature level with the new AnamorphX-GP, which will essentially turn your 16:9 GoPro footage into a much wider 2.39 aspect ratio with a simple de-squeeze in post. Check out more below. More »

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Leica 1Earlier in the year, we covered the announcement of a brand-spanking new set of high-end cinema lenses from Leica. Most of us know about, or have at least heard about Leica’s Summilux-C primes, which might very well be the finest cinema lenses known to man. The only caveat to the Summilux line is that you would have to sell a kidney (and maybe some other vital organs) in order to afford a set of your own. Leica’s new line of cinema lenses, the Summicron-C Primes, look to offer the same unmatched optical quality of their bigger brothers in a much smaller and slightly more affordable package. Oh, and they’re going to start shipping any day now. More »

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Lens DiffusionDiffusion is one of the most subtle, yet powerful tools that cinematographers have at their disposal. Certain types of diffusion allows you to accomplish multiple things. You can soften images to create an intimate and alluring aesthetic. You can cause your highlights to bloom which can make for a more glamorous or angelic look. And while there are multiple types of camera diffusion on the market, one of the most unique and effective solutions is actually the most inexpensive. Stockings, the kind that lady-folk wear, can be attached to the rear of any lens to create some extraordinary diffusion effects. Here’s the why and how of achieving this unique aesthetic. More »

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RED 3 Axis Wireless Lens ControlWhatever your opinion of the company might be, RED makes some absolutely fantastic products. From their line of ever-improving camera systems (which have become fairly ubiquitous in the industry), to the plethora of unique accessories that have been made specifically to augment and enhance their cameras, the folks at RED are never satisfied with the status quo. On Friday, RED introduced a new piece of equipment that is sure to find its way into the hands of many professional filmmakers. Introducing the RED 3-Axis Lens Control System, perhaps one of the most versatile wireless lens controllers ever created. Check out the details below: More »

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Rokinon Cine Lens Kit 24mm-35mm-85mmThe Samyang/Rokinon lenses are about the cheapest cine-style lenses in existence (and most of them cover full-frame 35mm), which means both the iris and the focus rings have gears for a follow focus, and the iris is measured in T-stops, and is smooth so you can ramp exposure during a shot if necessary. For example, if you’re starting a shot inside and need to go outside, or if a cloud goes behind the sun right in the middle of shooting, you can change exposure. There are many reasons you’d want cine lenses, but until these lenses they were just not affordable in any way — and now they’re even cheaper. More »

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Panavision Primo VIn the past few weeks we’ve talked multiple times about high-end cinema lenses. First, we shared a brief comparison of the Zeiss Compact Zooms and Arri-Zeiss Ultra/Master Primes. Then last week, we talked about Cooke lenses and why the “Cooke Look” is so desirable to filmmakers. However, there’s one major brand of high-end cinema lenses that hasn’t gotten much NFS love yet, and that brand is Panavision. That trend is about to change, though, because Panavision just released their Primo V series of lenses, which just so happen to be the first cinema lenses designed specifically for large sensor, high-resolution digital cinema cameras. Read on to see what these lenses are all about. More »

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Letus Anamorphic-x-1 Letus officially announced their 1.33x anamorphic adapter back in September, and as the release date inches closer (apparently some should start shipping sometime in the next week or two), more videos have been popping up showing off just what it can do. While an anamorphic adapter is made first and foremost to take an image and squeeze it to get a wide and sharp image without cropping, many of the unintended consequences of that squeezing are desired characteristics for certain shooting situations, like horizontal light flares and oval light sources in the background. A number of shooters have been able to test out the adapter, so click through to check out those videos below. More »

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SimpleLensImaging Heide2013If you’ve taken photos or video with a cheap prime lens, like a newer 50mm f/1.8, you might have been surprised by how good the lens performed. That’s because lenses have been designed with the help of computers for some time now, and even cheap lenses can correct for many of the issues that must be accounted for to get a sharp and error-free image. But lens development for the same sensor sizes can only get so good, and if you want perfect lenses, like Zeiss Master Primes or Leica Summilux-Cs, the cost is very, very high. What if we’re going about this all wrong though, and we should use the considerable power of the cameras or post-production to make our lenses essentially perfect? That’s exactly what the SimpleLensImaging research group is working on. More »

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MotionMountPLFacingWhen motion cameras moved from CCD to CMOS sensor technology, we got much better low-light performance, but gained an unfortunate side effect we affectionately refer to as jello, also called image skew. While CCDs are normally global shutters, CMOS technology can run in either rolling or global shutter. Unfortunately up until recently, running a CMOS sensor in global shutter mode meant lower performance, including less dynamic range. This means we’ve been stuck with rolling shutters and the jello effect, and high end cameras have only gotten rid of the effect by putting actual spinning mirrors in front of the sensor. Now RED has introduced a brand new mount called the Motion Mount, which turns their CMOS MX or DRAGON sensors into global shutters, without any dynamic range or noise penalties. We also have new DRAGON footage — check it out below. More »

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Letus Anamorphic Adapter 1 FrontSpeaking of anamorphic adapters, just as we were talking about the SLR Magic 1.33x adapter, Letus has finally introduced their own 1.33x anamorphic adapter that they’ve been working on for some time — and it won’t need diopters to focus closely. They’ve been posting pictures throughout the process teasing the adapter, but now it looks to be officially completed. Read on to learn more about this brand new adapter. More »

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Video thumbnail for vimeo video SLR Magic Anamorphic - nofilmschoolThere has become quite the secondhand market for anamorphic lenses and adapters since DSLRs and mirrorless cameras appeared on the scene. Cameras like the Panasonic GH2 were able to adapt almost any lens imaginable, including all sorts of anamorphic contraptions. With the popularity of shooting anamorphically on the rise, it was only a matter of time before companies introduced new adapters or lenses with their own designs affordably. SLR Magic, a well-known lens manufacturer, has been in development of their own anamorphic adapter, and we’ve got some early footage from their 1.33x prototype below: More »

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Video thumbnail for youtube video Testing the Superwides: Canon 16-35mm vs. Tokina 16-28mm - nofilmschoolDave Dugdale from Learning DSLR Video has reviewed quite a few products on his website, and if you’re in the market for a super-wide lens on full-frame or a very wide lens on APS-C without going into fisheye territory, his latest review might be right up your alley. In the video below, Dave takes a look at the Canon 16-35mm f/2.8L II and the Tokina 16-28mm f/2.8 on the Canon 5D Mark III: More »

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Samyang 16mm T2.2 CineIf you shoot video, you may or may not have had the pleasure of using real cinema lenses. Even if you haven’t gotten to use cine lenses, the next best thing are still photography lenses modified with clickless apertures and lens gears for both focus and iris. They also have the lenses marked with the exact amount of light that passes through the lens, which is measured in T-stops. If you’re using Super 35mm-sized or APS-C cameras, Samyang (also sold as Rokinon in the US) has introduced a new cine version of their 16mm, which is now rated at T2.2. More »

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CropperCapture[7]It goes without saying; Dog Schidt lenses are pretty damn cool. For those of you who missed our post several months ago, Dog Schidt is a company that takes vintage Russian and German lenses and re-houses the original elements with various modifications to create the most unique effects lenses on the market. And they’re in high demand these days. In fact, I’m convinced that I may never get off the Dog Schidt waiting list… My complaining aside, Dog Schidt has also been working on a Cine version of their now-famous FF58, called simply TRUMP. Hit the jump to see what makes this one of the coolest cine-style lenses ever made. More »

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The popular Tokina 11-16 F2.8 has now received the royal ‘cinema’ treatment with complete manual control, de-clicked aperture, pitched and calibrated to a T3. In addition, Tokina also introduces some new glass, get all the info directly from the floor at NAB 2013 from FreshDV: More »