Earlier this year, Fujinon announced two cinema zoom lenses: MK 50-135mm T2.9 and MK 18-55mm T2.9. As they are currently available for Sony E-mount, Fujinon plans to expand the series and make it available for X mount as well.
Maybe you know that varifocal lenses are designed for stills and SLR cameras, and parfocal are designed for cinema and broadcast. But why would you want a parfocal zoom lens if you can use a varifocal even for the videos? What are the differences, and why does it matter anyway? This video by Vistek gives a great illustration of all this. It doesn’t only tell what the differences between the lenses are, but it gives examples that will make it much clearer to understand.
Filmmakers, Veydra fans and everyone who is interested in lenses, pay attention! Last night, someone broke into Veydra headquarters in California and stole over 200 Veydra Mini Prime Lenses.
The company is offering a reward for any information that could lead to returning the stolen lenses back to their inventory.
When most of us are testing out new lenses, it’s often a very subjective thing. And our testing exercises are rarely very scientific. In fact, we may not even notice some issues until we’ve had a lens for a few months. Then, one day, the problem pops up, clear as day. For cinematographers that rely on a certain level of technical excellence in the equipment, though, it’s a big deal.
They want to know that a lens can stand up to the task. That multiple lenses used to shoot a scene from multiple angles are consistent. Rental houses also want to be sure that equipment comes back to them in the same condition as when it left. So, they take things a little more seriously. This video from Cinematography Database shows off some of the process, and what they’re looking for when testing.
Anybody who has ever tried to shoot video with a photography zoom lens understands the frustration it can cause. It seems natural to want to use the lenses we already own with DSLRs and mirrorless that can record video. After all, why spend money on a lens we already own, right? But things are a little more complicated than that. Photography lenses aren’t designed for video.
This video from The Camera Store TV is both hilarious and informative. It highlights the big differences between photography and cinema lenses. Why cinema lenses cost more money, and why you often can’t pull off the same shots with even pro photography lenses. I’m not sure which is funnier, though, the general idea of the sketch, or the acting abilities of those involved.
Fujinon has announced two new cinema zoom lenses: MK 18-55mm T2.9 and MK 50-135mm T2.9. They are fast, compact, versatile, and affordable. If you are in the “Sony team”, you may want one for your camera, as they are compatible with E-mount cameras with Super 35mm-sized sensor.
Sigma announced that they were jumping into the world of cinema in a big way at the beginning of September. Last month, they announced pricing and availability for the first two cine lenses in the range to be released. These are the 18-35mm T2.0 and 50-150mm T2.0, both due to start shipping in just under two weeks.
To show off their capabilities, Sigma have produced the 15 minute short film “Blur”. Shot entirely with the pair of Super 35mm (APS-C) zoom lenses, on the Arri Amira, it’s a touching story. A boy’s slightly weird father, seen by his friends as the “cool dad”, is obsessed with his camera. His photographs aren’t very good, but he keeps shooting.
The listing, by Calkovsky Cinema Worldwide, contains well known names such as Canon, Zeiss, Schneider and Cooke. The description lists all of the lenses as tested and in “great working order”.
Samyang recently put out a teaser to build up some hype for five new lenses it was about to release. There was much speculation abound about what these lenses were. Particularly, was Samyang finally dipping its toes into the world of autofocus?