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Cine Lens

Photo vs cine lenses – Which is really more cinematic?

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As cameras have become more video-capable over the last decade and a bit, cine lenses have become more of a thing. Once confined to Hollywood film sets, they’re not readily available for anybody with the cash to spare. While some are uniquely cine lenses, others are photography lenses in new housings. But does the cine housing and feature set really make a difference?

In this video, Syrp Lab takes a look at photo vs cine lenses to see if the latter really is more “cinematic”. There are certainly plenty of advantages and disadvantages to both types of lenses, depending on your needs and how you prefer to shoot, but

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ZY Optics completes its MFT cine lens lineup with the new Mitakon Speedmaster 50mm T1.0 MFT Cine

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ZY Optics has announced the newest in their T1 lens in their cinema lens lineup. The Mitakon 50mm T1.0 MFT Cine joins the 17mm, 25mm and 35mm T1.0 lenses announced last year to complete their Micro Four Thirds cine lens lineup. As with the other lenses in the range, the 50mm T1.0 is very low budget, coming in at only $399 and now you can buy a bundle containing all four lenses which includes a free protective case.

Offering a 25° field of view, equivalent to a 100mm lens on full-frame, the new lens offers similar characteristics and bokeh to the rest of Mitakon’s MFT Cine lineup, giving filmmakers consistency as they swap between them. It has a minimum focus distance of only 60cm and with that super bright T1 aperture, the 9-blade circular aperture presents very pleasing out-of-focus areas.

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Sigma complete their Classic cine lens line-up with the FF 65mm T2.5

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Most of us are familiar with the name Sigma. Their photographic and video line lenses have become synonymous with affordable yet high-quality optics. But you may be less familiar with their Classic Prime line of lenses. DIYP talk to Sigma’s Jan-Willem Verschuuren to find out more.

In fact, Sigma has just launched the FF 65mm T2.5 cinema lens as part of the Classic Art Prime line lens range and the FF 65mm T1.5 Classic Prime Line. Jan-Willem explains that there has been a lot of demand for the 65mm lens because there was a large gap between the 50mm and the 85mm that were available previously. Finally, the set is complete.

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Canon patents a bunch of cinema lenses including 40-100mm f/1.5, 18-45mm f/1.5 and 70-210mm f/2.5

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Well, this is interesting. Canon patents new lens designed all the time, but these days, it’s typically in relation to RF mount lenses targeted specifically towards photography. In this case, though, it looks like Canon’s filed patents for several lenses that appear to actually be cinema lenses. The big giveaway is in the opening description, referring specifically to “Super 35 format” rather than APS-C.

The new lenses look pretty interesting, too, and may potentially upset the balance of common staples like the Sigma 18-35mm f/1.8 and 50-100mm f/1.8 Art series lenses commonly used for video due to their wide aperture and focal length range. The patent actually mentions a number of different lens designs, with various focal ranges and maximum apertures of between f/1.5 and f/2.5.

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Meike launches a 16mm T2.5mm full-frame cine lens for PL, EF, RF E and L mounts

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This one slipped by us the other day when Meike announced their new low-budget 50mm f/0.95 APS-C lens for mirrorless cameras, but the company has also announced the new Meike FF Prime 16mm T2.5 Cine lens, too. This full-frame lens offers a maximum aperture of T2.5 that goes all the way down to T22, covers a full-frame sensor with a 96° horizontal field of view, and comes in a variety of mounts.

The new lens brings Meike’s Cine lens line up to seven lenses in total (six that actually exist so far), including the 24mm, 35mm, 50mm 85mm and 105mm T2.1 and the yet-to-be-released 135mm T2.4 lenses, rounding out the range quite nicely with the new ultrawide. There’s still no word yet on when we’ll see the 135mm T2.4.

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Sirui’s new “Jupiter” full-frame cine lens lineup includes 24mm, 35mm & 50mm T2 macro primes and 28-85mm T3.2 zoom

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Sirui has announced a new line of full-frame cine lenses known as the Jupiter series. The line is kicking off with four lenses including a 24mm T2, 35mm T3 and 50mm T2 prime lenses, all of which are macro lenses, as well as a 28-85mm T3.2 full-frame cine zoom. And, like pretty much all Sirui lenses, they’re being crowdfunded and launched via Indiegogo.

The three primes match each other in physical dimension, for easy switching out on camera rigs, with what they say is minimal focus breathing and will have a 92mm filter thread. The 28-85mm T3.2 zoom is a parfocal lens, so doesn’t require focus adjustment as you zoom in and out – very handy for ensuring focus and then pulling back to compose your scene.

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Cooke’s new S8/i Cine lens series includes 16 lenses that cost $35,000 each

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If you thought those $3-5K cine lenses were expensive, you’ve seen nothing yet. Cooke Optics, arguably one of the best in the business when it comes to cinema lenses, has just launched their new full-frame S8/i series lenses that cost a crazy $35,000(ish) each. They’re kicking things off with seven lenses, available to pre-order right away with a further nine lenses coming before the year ends.

The first seven lenses include 25mm, 32mm, 40mm, 50mm, 75mm, 100mm and 135mm focal lengths, all with a massively wide and bright T1.4 maximum aperture. Later in the year, Cookie plans to add 18mm, 21mm, 27mm, 35mm, 65mm, 85mm macro, 180mm, 250mm and 350mm lenses to the lineup for a total of 16 lenses.

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Laowa’s new 7.5mm T2.9 Zero-D is the world’s widest rectilinear Super 35mm cine lens and it’s only $699

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Venus Optics has announced their new Laowa 7.5mm T2.9 Zero-D S35 Cine lens, offering a massive 123° field of view, this lens covers the Super 35mm (APS-C) sensor format and features Laowa’s Zero-Distortion image tech. Despite being super wide, the new lens has a 77mm filter attachment on the front. Best of all, it’s pretty cheap, too, as cine lenses go, with a price tag of only $699.

The lens comes in its own foam-padded and weather-sealed hard case, keeping your lens safe during travel and in bad weather conditions. It’s available in several mirrorless mount formats including Sony E, Canon RF, Nikon Z and Fuji X, measures only 80.7mm long and weighs a mere 610g.

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Laowa announces four MFT Cine lenses including 6mm T2.1 Zero D – The world’s widest rectilinear lens

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Laowa has announced four new cine lenses for the Micro Four Thirds system including a crazy wide Laowa 6mm T2.1 Zero-D Cine lens. This is the world’s widest rectilinear lens for not only Micro Four Thirds but any interchangeable lens camera system. The lens offers the equivalent field of view to 12mm on full-frame, offering an angle of view of 121.9°. As well as the 6mm T2.1, Laowa has also announced their new 10mm T2.1 Zero-D MFT Cine, 17mm T1.9 MFT Cine and 50mm T2.9 Macro APO MFT Cine lenses.

The four new lenses sit on the smaller side of Laowa’s cine lenses. As such, they’re extremely lightweight, designed for those hybrid shooters that might be using a compact rig or gimbal with a small follow focus motor, or even for popping onto a drone carrying a Micro Four Thirds camera to not impact your flight time too much.

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Convert your vintage photography lenses into DIY cine lenses with these 3D printed housings

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The popularity of classic photography lenses for video has seen a massive increase in the last few years. And it’s no surprise. Some of those old lenses have a fantastic look about them and produce footage that would be difficult or impossible to shoot with modern glass without a lot of post-processing effects to simulate it. And even then, it wouldn’t look 100% the same.

But vintage photography lenses aren’t exactly built for video use. They’re designed to be operated by hand, twisting the focus and aperture rings manually, not with a follow focus unit or a gimbal motor. But Fusion 360 wizard, Edward Park has created a bunch of 3D printable housings to convert them and made them freely available to download.

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