After a wildly successful Indiegogo campaign for 65mm T2.4 and an 80mm T2.4 anamorphic lenses, Venus Optics has added a stretch goal and is announcing another lens in this series. Laowa 20mm T2.2 1.5X Nanomorph lens is coming, and just like the other two, it’s lightweight and tiny, perfect for packing light and all kinds of run & gun shooting situations.
It’s official, there are no more Canon EF lenses being made. That’s why Canon has brought its RF mount to its cine CN-R series of prime lenses.
DIYP spoke to Jack Adair about the new lineup that fills the gap aimed specifically at Canon’s EOS R range of mirrorless cameras.
Now, here’s how you announce that you’re making cine primes. You don’t tease and drip-feed us every 6-12 months for a few years until the lineup’s complete. You announce the whole lot at once, and that’s what Canon’s just done.
The company has unveiled its new line of RF mount cinema primes (buy here). There are seven in the complete set ranging from 14mm up to 135mm, with all the common focal lengths in between.
I’ve seen quite a few of these 3D printed cinema lens housings over the last few years. We’ve featured some of them here on DIYP and I’ve even designed a couple of focus rings for my own lenses in the past. I’ve not had a go at printing a full housing, though.
They need a lot of plastic to make, and they look 3D printed. Are they really worth it? In this video, Adam Harig at FoxTailWhipz attempts to answer that question by printing one of the housings available for his Tokina 28-70mm f/2.6-2.8 lens.
Laowa unveiled its Ranger 28-75mm T29 and 75-180mm T2.9 cine zoom lenses (buy here) at NAB 2023 in May. DIYP had the opportunity to check them out in person while we were there, and they looked like a pair of very exciting lenses. Both lenses are designed for full-frame lenses but feature a very compact and lightweight design.
The two lenses offer a wide focal length range from a wide 28mm to a long telephoto 180mm with a bright T2.9 aperture. Both have built-in 0.8 MOD gears for focus, focal length and aperture. At the time of NAB, no prices were available for the two new lenses. Now, though, both lenses have been officially released, along with pricing.
After reports surfaced last week on the Fred Miranda forums stating that Zeiss was leaving the photography industry, Zeiss has put out a statement. The initial report said the Zeiss Australian distributor claimed that Zeiss was leaving the photo industry. Given past photo and cinema lens releases, the death of the ZX1, and outlets reporting that communication with Zeiss had ended, it seemed believable.
Now, Zeiss has apparently released a statement. It states unequivocally that Zeiss is not leaving the photography industry. The company says they’ve faced some challenges during the pandemic, as every company has. They also talk about their continued ventures into smartphone camera modules.
According to reports stemming from a post on the Fred Miranda forums, Zeiss is leaving the world of photography. The post, by the user Petegh, states that they’ve received confirmation from the Australian Zeiss distributor that they will be discontinuing all of their lenses and filters, including Batis, Loxia, etc.
It’s probably not much of a surprise. While Zeiss was once one of the biggest names in the industry, in recent years, they’ve been rather limited. Their recent mirrorless lenses releases are only really available for Sony E mount, and since Sony caught up and started making their own lenses, Zeiss kind of fell by the wayside. And then there’s the somewhat disastrous and recently discontinued ZX1 camera.
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
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.
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.