Duclos Lenses hosted another Duclos Lens Lab at RED Studios Hollywood several weeks ago. This time we focused on Zeiss' new CP.3 line and the workflow associated with the eXtended Data features, exclusive to the CP.3 XD primes. Our friends at ProductionHub.com were kind enough to capture our presentation featuring Snehal Patel of Zeiss which you can see below. [wpvideo JzLRQ84h] The rest of the event included a hands-on shooting environment where we allowed guests to actually use the CP.3 primes in a real-world environment, including live image correction with the CP.3's eXtended Data features. You can purchase the Zeiss CP.3 primes here. The eXtended Data models are expected to begin shipping in a few months. Thanks to all that attended. We'll see you at the next Duclos Lens Lab!
Zeiss launched their Milvus line back in September of 2015 and has continued to add focal lengths over the past two years including the still-new 15mm, 18mm, and 135mm. Originally, the Milvus line was Zeiss' answer to the long-in-the-tooth Classic line of primes which desperately needed an optical design overhaul. The initial line of Milvus primes included a brand new, fast 50mm and 85mm, but lacked a fan favorite; 35mm f/1.4. Until now... Milvus 1.4 35 ZF.2 product sample 20170512 07 The new 35mm f/1.4 Milvus is a high quality, manual focus prime lens that will match perfectly with the rest of the Zeiss Milvus line of primes. If you've used any of the other Milvus lenses, you'll be familiar with the new 35mm. It features the same smooth, sleek design; smooth, consistent focus rotation; environmental sealing; and more. Compared to most of the other Milvus lenses, the 35mm f/1.4 will be a chunky little guy at 2.5lbs. Compared to the smaller models in the line, it's a full pound heavier than most. As with the others, the 1.4/35 has a fully alloy body that provides a robust, solid construction. Optically, we're looking at floating element design comprised of fourteen elements in eleven groups with one aspherical element (rear) and several anomalous partial dispersion elements throughout. It will be available in the same ZE (Canon EF) and ZF.2 (Nikon F) lens mounts. The ZE model will have an electronic aperture control that requires an active EF mount camera to operate whereas the ZF.2 model will have a fully manual aperture movement and can easily be converted to a Canon EF mount by Duclos Lenses ($125). Milvus 1.4 35 ZF.2 product sample 20170512 05   Speaking of Duclos Lenses, you can bet the Cine-Mod and Cine-Mod PRO will be available for the 35mm Milvus, similar to the rest of the Milvus modifications from Duclos Lenses. The Cine-Mod PRO will feature an expanded, seamless focus gear, and an integrated 95mm front ring for use with most common matte boxes. The lens will cover a 35mm Full Frame sensor, suitable for just about everything out there by way of simple adapters, including RED 8K VV (pending further tests). You can find all the spec sheets and MTF charts you could want over on Zeiss' website > Milvus 35 Spec Sheet.png So what does this mean for the rest of the Milvus line and even the new CP.3 line? It brings the Milvus family to a comprehensive TEN prime lenses ranging from 15mm all the way to 135mm. For the CP.3 line, the glass in this new Milvus design is sure to make it's way into a CP.3 housing, most likely at a reduced T2.1 aperture to match the rest of the CP.3 family but more importantly, this now gives Zeiss a brand new optical design for 35mm, 50mm, and 85mm; or as I see it, the foundation for a new set of "Super Speeds", similar to what they offered with the CP.2 "Super Speeds" but with vastly superior optical performance thanks to the new formulas. milvus 35 diagram Let us know what you think. Do you trade a few extra bucks for superb image quality, or do you save some dough and go with an inferior quality lens that simply gets the job done? Share your thoughts below! The Milvus 35mm f/1.4 is available to order immediately from Duclos Lenses and the Cine-Mod PRO will be coming soon.
Every once and a while, we get a chance to sit down with cinematographers and content creators to geek out over glass. DP, Dan Levin, spoke with us about his experience being one of the first crews to shoot with Canon's 18-80 Compact-Servo lens on his project Inside the FBI: [youtube https://www.youtube.com/watch?v=flAkVGlgodE] Daniel Levin is a DP for Brick City TV. Inside the FBI is a collaboration between Brick City TV and Dick Wolf Films. You can catch episodes streaming via USA Network. [caption width="1734" id="attachment_6559" align="alignnone"]Dan Levin DP Dan Levin with the Canon 18-80[/caption]
I definitely look for versatility [when choosing lenses] and gotta have a range so that when you’re stuck behind a police line and they tell you that you can’t go any further you can still come in and get the shot
TCL: Daniel, tell me about your experience as a DP. DL: I’ve worked with my father for years, and his partner at Brick City TV, Mark Benjamin, is a DP as well so I really learned the trade under him. I’ve always been interested in photography, I’m a very visual person. Coming in to the documentary world is usually best if you have a trade… I picked up a camera as soon as I could and learned the ins and outs of that trade from Mark Benjamin and he just sort of threw me into the fire. The series that we usually do are long documentaries which are a lot of hours, trying to catch real moments and be in the moments and let it unfold in front of you. It’s a lot of patience and a lot of waiting, but when the gold unfolds in front of you, you’ve gotta be ready and prepared and you’ve gotta know how to move and how to react and I pride myself on being able to do that. TCL: Tell me about your recent project: Inside the FBI. DL: It was the brainchild of Dick Wolf, the godfather of TV. He had a relationship with James Comey, who we all know was recently fired. James gave Dick access, and Dick came to us knowing our work in the documentary field and said "run with this". That being said, once they said “you have access” it wasn’t like it turned over night, it was long relationship building...gaining the trust of the agents, trying to figure out what the parameters were, what we could do and couldn’t do. As with any sort of documentary initially people are hesitent, especially in law enforcement, I mean the FBI’s default stance is “no comment, we don't talk to press” and all of the sudden here we are in their offices with cameras and microphones… it’s a little bit of a shock to them. Eventually we stared getting in to cases with them, and going out with them into the field. We went down to Quantico for training and graduation. Each episode has a take down, so with each unit we tried to follow a case that ended in an arrest or a take down. We were in principal photography for a year, and during that time a lot happened in the world and in New York. [Shooting] actually started when the Pope came to New York, that was sort of the first test... hanging with the FBI there with the pope. It was one of the biggest security moments in New York history because you had the pope coming in to town, you had Obama in town, the U.N. general council and the U.S. Open all happening within the same few days. New York was on super high alert
[budget] lenses giving run and gun doc shooters the option to have cinema lenses that can be carried and shot with handheld... it's exciting.
TCL: What lenses do you normally shoot with? DL: In the documentary world, and for us especially shooting thousands of hours, you have to be really stripped down. I’ve been shooting Canon for a long time, C300 mk I & II. Basically all the Canon EF lenses in a back pack; I try to go with Zooms and Primes. For this it was the Canon C300 mk I & II and EF Lenses. We got our hands on the Compact Servo when it was just released, an early look at it. We were one of the first productions to shoot with it in the field, which was fun. I definitely look for versatility [when choosing lenses] and gotta have a range so that when you’re stuck behind a police line and they tell you that you can’t go any further you can still come in and get the shot for example… Some of my favorite lenses are the 16-35,  the 50 prime I always have for low light, 70-200 is a beautiful lens. I really try to run the spectrum of the EF lenses. TCL: What lead you to choose the Canon Compact Servos for this project? DL: The lenses were not officially released, and to be honest I don’t know if we were even officially allowed to be using the one we had, but we used it. I’m not sure I can reveal my sources, but a rental house in New York had one and we decided to take it for a ride. It’s sort of become a movement now with…[budget] lenses giving run and gun doc shooters the option to have cinema lenses that can be carried and shot with handheld…it's exciting. If not for that focal length I would have been using a 24-105 or 24-70 and to have something with superior optics that you could use the servo zoom... was a refreshing moment after using EF lenses for so long. I could still keep the versatility, still be able to move quick and fit into small places. The goal is to stay compact and versatile and it was great to use that lens. TCL: Did using such a new, hybrid lens present any hurdles during production? DL: I think it was a welcome breath of fresh air. Sometimes due to lack of resources [when shooting documentary] it will get dark and you have to got to prime lenses. It was a great day-time lens. There’s some specifications I would change. Overall it was great. I know they’re coming out with more and with [other brands] catering to this market, I think it’s great for run and gun docs. TCL: Were you able to achieve your artistic vision with these lenses? DL: Definitely. Brick City as a company has had a style, keeping it very cinematic so you feel like you’re watching a narrative but it’s all real. I think we continued our style with this series. TCL: If you have to change anything about these lenses, what would it be and why? DL: The 18-80 handle, the power function, is a little awkwardly placed. If you wanted to place the camera with the lens on the ground, as we often do, it could damage the servo. That was the biggest thing for me, figuring out how to build the rig and not break that little servo power cable. I ended up just taking that handle off because we don’t really do a lot of electronic zooms. That was the only in the field thing that I noticed. TCL: Do you see yourself using these again on future projects? DL: I think for the documentary series lane that we’re in, where you are self contained, getting a cinematic look with these lenses is great. Its a great place in the market, we’re moving into the C300 mk II and we’re going to stick with the 18-80 and whatever lenses they come out with. I think Canon’s budget cinema lenses are great. The Lens market and camera market are changing so rapidly you have to keep up. Thank you to Dan Levin for taking the time to talk to us and share your experiences. You can follow Dan on Twitter and Instagram and at www.danlevinfilms.com. Share your thoughts, comments and questions with us! Happy Shooting.
Since the DSLR Revolution the Leica R primes have been the pinnacle of quality hybrid photo-cine prime lenses. Duclos Lenses has applied their Cine-Mod® to thousands of Leica R primes which brought a seamless focus gear, smooth  click-less aperture, common 80mm front rings and Canon EF mount. But we had never tackled the PL mount solution. There were a couple of Chinese modifications that brought PL mounts and larger, heavier housings to the R series. But it wasn't until Cinescope teamed up with TLS in the UK to bring a proper, robust cine-style housing to the Leica R primes.  DSC05086 So why didn't Duclos Lenses tackle this project? Simple... Economics. The Chinese rehousings that were already coming to market meant that our sales team would spend more time explaining why our domestic, higher quality housing was so much more expensive, than they would actually selling and modifying lenses. The China price war game gets really old, really fast. You get what you pay for. However, UK based TLS had an advantage already. The R&D they had put into their Kowa, Super Baltar, K35, and Panchro rehousing could easily be ported over to accommodate the Leica R primes. Cinescope saw this opportunity and jumped on it. Cinescope 28 If you've tried any of the TLS rehoused lenses, you know what to expect with the new Leica R project. It employs the same robust, cam-based focus system as the rest of their conversions. The movements are smooth, consistent, and well designed. In my initial tests, the focus movement was accurate and repeatable with over 300 degrees of focus rotation, with the Macros 60mm and 100mm having 350 degrees of focus rotation. The focus and iris markings are displayed clearly on both the smart and dumb side of the lens. The front diameter is a common 110mm across the entire line. I'll list the different focal lengths and their pricing at the end of this post. To say that the housings themselves are reminiscent of Cooke S4 primes would be an understatement. After all, Keith, the Co-Founder of TLS, is a former Cooke technician. So you could say this particular project is like having Leica glass in a Cooke housing. Sorta... Cinescope-100 So who exactly are Cinescope? They're a budding cinema lens company based in London, England. They've teamed up with TLS to perform the conversion for their first product release, the Leica R primes which will serve as their marquee product. I had a chat with the owner, Antoine to get a bit more information:
What is the history of Cinescope Optics? Cinescope Optics was formed by an individual from the UK who specialised in the acquisition of purchasing vintage optics and rehoused them with TLS. He then brought them to the market for sale. He accumulated multiples and multiples of sets of rehoused TLS lens, building a great relationship across the globe with many clients in the film and motion picture industry. 
What other lenses does Cinescope Optics offer? Cinescope’s launch pad is the Leica R Prime lenses, due to its amazing look and dynamic usage, being ‘full frame’. Cinescope Optics soon plans an anamorphic version and some pretty cool zoom lenses across different lens makes and models.
Is the Leica R rehousing exclusive to Cinescope? the Leica R rehoused lenses are solely exclusive to Cinescope Optics. We even try to help all our Cinescope customers by possible glass trade ins. The customer can sell the existing glass for market value and have the price discounted with a brand new set of lenses supplied.
Are these new lenses available for rental or purchase or both? These lenses are for purchase only, however we are inundated with orders from hire houses across the world who would be able to rent to the films industry in that country. But we are strictly as seller of lenses. 
Cinescope-19mm-angle So who will these lenses be right for? If you love the look of Leica R series glass but need something more robust or more producer-friendly than a simple Cine-Mod, then you'll want to snag a set of these Cinescope Leica R primes. The prices and focal lengths will be as follows: Elmarit 19mm T2.9   -   £6,000 Elmarit 28mm T2.9   -   £6,000 Summilux 35mm T1.5   -   £7,500 Summicron 35mm T2.1   -   £6,000 Summilux 50mm T1.5   -   £7,500 Summicron T2.1   -   £6,000 Elmarit Macro 60mm T2.9   -   £6,000 Summilux 80mm T1.5   -   £7,500 Summicron 90mm T2.1   -   £6,000 Elmarit Macro 100mm T2.9   -   £6,000 Elmarit 135mm T2.9   -   £6,000 You can purchase the lenses directly from Cinescope. Also be sure to follow them on Instagram! The lenses will also include 12 months of complimentary mechanical service from TLS with purchase. The first six focal lengths are available immediately and the others will be available this summer.
That's right. It's a lens test. I'll be joining host Michael Koerner at his facility Koerner Camera Systems in Portland Oregon in just a few weeks. The perfect bridge between NAB and Cine Gear - Koerner will be hosting a range of manufacturers to showcase their latest gear. Less of a shootout and more of a hands-on event, we'll be pairing up cameras and lenses and giving each a go to see what works best in different situations. We'll have lenses and reps from the following:
  • Angenieux
  • Arri
  • Canon
  • Cooke
  • Fujinon
  • IB/E
  • Leica
  • Lomo Illumina
  • PS Technik
  • Raptor
  • Sigma
  • Tokina
  • Zeiss
So how about it? Join us! No need to RSVP. You can find the event details over on Koerner's facebook page. Looks like it's going to be a good time. Come hang out. Drink. Eat. Mingle. I'll have some swag on hand to give away. If you're a lens geek like me and Michael Koerner, you'll be in good company.
Zeiss pulled the veil of their long anticipated update to the Compact Prime line which will officially be called the CP.3 and CP.3 xD. The new line will consist of FF35 primes ranging from 15mm to 135mm in a lightweight, compact cinema housing. The new lenses will feature high performance optics at affordable prices with a couple of features not yet seen in the Sub-$5K market. Let's take a look at the details of Zeiss' new cinema primes. To make room for the new CP.3 primes, Zeiss is discontinuing the CP.2 line with the exception of the Super Speed T1.5 CP.2 primes; 35mm, 50mm, and 85mm and the 50mm T2.1 Macro CP.2 which will remain in production. During the launch event in Las Vegas this weekend, Zeiss informed the audience that the CP.2 line of lenses has been the most successful product in cinema lens history. I don't have hard facts to back this up, but I don't doubt it one bit. The Zeiss Compact Primes hit the market at the turn of the digital cinema revolution and really brought in a new era of affordable, quality cinema lenses. However, for some users that were more demanding, the CP.2 left something to be desired. After all, the Compact Primes from Zeiss are coming up on ten years old now and it's time to refresh the line. zeiss-compact-prime-cp3-lenses-product-01.jpg So what's new? The CP.3 take a slightly different approach to cinema lenses than other manufacturers are. They're including Cooke's /i protocol which allows for recording of vital metadata such as lens focal length, focus distance, t-stop, etc. - but go a step further and include their own embedded profiles for finer details such as illumination falloff, distortion, and more. This not only allows the user to record and compensate in post... But also tweak to their liking. Without baking a "look" into the glass, this new approach which Zeiss is calling their xD (eXtended Data) allows the user more control of their lenses throughout the creative process. XD connection What's this about CP.3 and CP.3 xD? Here's where things get interesting. If the fancy eXtended Data feature doesn't interest you at all, then there's a more affordable option : the plain CP.3 (no xD) which offers the exact same image characteristics and build quality, but simply without the /i Data protocol and hardware. As you can imagine, forgoing the circuit boards, connectors, additional hardware, assembly time, etc - the regular CP.3 primes become a more affordable option. Do bear in mind that if you choose the CP.3, there is no option to add the xD features at a later date. I don't consider this a "catch" at all. If anything it's the other way around. Zeiss is making the CP.3 xD primes but also offer a more budget conscious option to a wider range of customers. Well played. So which one is right for you? Decide now if you think you'll ever find a need for the xD features. There's your answer. zeiss-compact-prime-cp3-lenses-product-05.jpg Now let's explore the actual lenses. The set at launch will consist of a 15mm T2.9 / 18mm T2.9 / 21mm T2.9 / 25mm T2.1 / 28mm T2.1 / 35mm T2.1 / 50mm T2.1 / 85mm T2.1 / 100mm T2.1 / and 135mm T2.1. The primes will all share the same focus and gear position and common barrel diameters and front diameter of 95mm, only differing in the length of the barrel between focal lengths. All of the lenses will cover a FF35 format sensor up to 43.3mm diagonal. There's no difference in the size and no discernable difference in weight between the CP.3 and CP.3 xD. The mounts will be user interchangeable between Arri PL, Arri PL w/ xD, Canon EF, Sony E, Nikon F, and Micro 4/3. The mount pins for the eXtended Data are only available in the PL w/xD mount and not in any of the other optional mounts. However, thanks to the LEMO port on the size of the CP.3 xD primes, even with the other "passive" lens mounts, the data is still available to capture through an Ambient MasterLockit Plus. Focus rotation is a generous 300 degrees with plenty of well-spaced focus distance marks. The iris is comprised of 14 blades and maintains a very impressive circular configuration at just about any T-stop. Tech Specs for the geeks - more details after that: p3 tech specs.png Having handled the new CP.3 lenses during the launch party, I can gladly confirm that the focus and iris movement are a vast improvement over the CP.2 primes. This was one of my biggest complaints with the older Compact Primes and Zeiss have definitely addressed this with the new CP.3 primes. They still feel just as solid and well built as their more exotic cousins; Ultra Primes and Master Primes - just without the bigger price tag and additional size/weight. There are a few key differences to note between the outgoing CP.2 and the new CP.3 besides the obvious eXtended Data features. The size and weight is the most obvious. The CP.2 had a rather large 114mm front that simply wasn't necessary. None of the glas was anywhere near large enough to require such a bulk housing. The focus movement, which I mentioned previously, is a massive improvement over the CP.2. Lastly, the AR coatings. Zeiss says these are a whole new coating that we've not yet seen. Improved over their previous methods to maintain a more even distribution, providing a higher degree of correction. case.png The non-xD CP.3 primes will begin shipping this June with a price tag of approximately $4,390. The CP.3 xD variants are scheduled to begin shipping in September at about $5,790 per lens. As usual, custom sets and flight case (this time a lovely Pelican AIR, carry-on compatible) will be available at discounted prices from Duclos Lenses who will begin taking pre-order post NAB (email them now if you want to get a jump on the competition). Check out the featured videos Zeiss has put together to show what the CP.3 primes are capable of. Enjoy! https://vimeo.com/213062221 https://vimeo.com/214394944
I know... Another Rokinon post. What can I say? They're in high gear and don't show any signs of slowing down anytime soon. Samyang, the magicians behind the Rokinon line of photo and cinema lenses have another new line of primes. Several months ago they announced their native E-mount auto-focus lenses which I completely ignored since they don't really interest me (google it if auto-focus E-mount primes interest you), but Rokinon has just begun shipping two primes in a new line they're calling "Speical Performance" or "SP" for short. Currently, these two lenses consist of a 14mm f/2.4 and an 85mm f/1.2. I spent a few weeks with the new 85mm so let's give that a closer look I ordered a pair of these from the factory as soon a I could (yes, I buy my own review gear... It's not given to me like some other blogs out there) since I had always considered Rokinon an average option in regards to image quality, and I wanted to see what they could do when they aim high. I was walking down the hall at my office with Phil Holland who coincidentally had been hanging out earlier and noticed the box had just been dropped off by FedEx but hadn't been checked in yet. I couldn't help it... I snagged it and tore it off open out of sheer curiosity and excitement which I'm sure will get me in trouble with Caitlin. You see... nothing gets by Caitlin at Duclos Lenses. Every. Single. Lens goes through her and is recorded into our system, regardless of who or what it's coming in for. But Phil and I snagged them both and ran! (Don't worry. I brought them back later so she could check them in. I'm not that much of a risk-taker...) Let's begin with image quality. [caption width="660" id="attachment_6069" align="aligncenter"] Testing the Rokinon 85mm f/1.2 on our lens projector.[/caption]I started with the 85mm on the projector, recording a center resolution of 200 lp/mm - something I expect from any decent lens. What was impressive was that I observed this resolution, even wide open at f/1.2 which is indeed an accomplishment on behalf of Rokinon/Samyang. Well done fellas! As expected, focus does fall-off into the field, dropping to about 100 lp/mm, and then back up to about 140 lp/mm in the very corner of the FF35 frame. To summarize: resolution is great. Not OTUS great... But comparable to other lenses two to three times the price of this Rokinon. Moving on... Distortion is minimal (didn't take the time to actually measure it yet). The 85mm does breathe a notable amount, but not any worse than other high-speed portrait primes. Chromatic aberrations are present, but well controlled. Other than sheer resolution, this is where the OTUS primes will outperform the Rokinon SP. The OTUS primes have held their crown for so long because they're nearly unbeatable when it comes to controlling aberrations. Coma is also present in the Rokinon SP 85mm, but only noticeable in the far corners of the frame and again, relatively well controlled, even wide open. Moving on to mechanical attributes. Similar to the optical performance, this is where the SP line leaps far beyond the original Rokinon primes. Where the original Rokinon primes had a cheap feeling plastic shell, the SP primes have a very nice, anodized aluminum housing with a smooth, easy-on-the-digits lumpy rubber grip. The focus grip is this sort of peculiar circumference of a tumor. It's a bit odd to look at - almost as if someone at the factory stuffed some extra tape underneath an otherwise flat a rubber grip... Still not sure how I feel about this feature from an aesthetic perspective, but in practical application it performs very well. The focus rotation is about 200º and has plenty of distance marks on the scale in both metric and imperial units. No individual witness marks which means accuracy is a very horseshoe/handgrenade affair, but I don't expect more from a photo lens. The 85mm also weighs a good deal more than it's older, cheaper Rokinon cousins at a little over 1000 grams. I ordered the lens in Canon EF mount, which I believe is the only option at the moment. Unfortunately this means that it has an electronic aperture that is controlled exclusively by an active EF mount camera. So no full manual aperture control. Not a deal-breaker these days with tools like Fool Control or Canon's iris jog in the C300 MkII. ...but still it would be nice to see a fully manual option. I don't know if Rokinon plans to release these in additional mounts like Nikon which could potentially have a manual aperture ring. [caption width="660" id="attachment_6068" align="aligncenter"] The duo: Rokinon SP 14mm and 85mm out for some field testing at the beach.[/caption]After a few days of testing out the SP primes I have quite a few thoughts. A lot of folks already asked me about additional mounts... As I mentioned before, I could see Rokinon releasing this in a native Nikon F mount, but I really hope they don't give this lens a silly "tube fix" Sony E mount model. They did this with just about all of their regular primes that were obviously designed for reflex systems. It's just silly for the manufacturer to put these giant tubes on the back of a lens just to add more mount options to their marketing material. Most of the mid-range Cine prime manufacturers do this (CP.2, Xenon, XEEN, Sigma, etc.) and I think it's sort of desperate... In the setup I did most of my testing on, I used a Sigma MC-11 Canon EF to Sony E mount adapter which communicates EXIF data and electronic controls perfectly (most of the time). If I NEEDED to use an EF mount lens on a Sony camera, I would rather just use an adapter if my alternative was a weird, empty tube at the back of my lens. Speaking of the MC-11 and this setup, it did give me a few odd quirks during my tests - the first of which occurred when I switched off the camera and the iris in the Rokinon SP went a bit nutty and started having a blade seizure on me... And again when the camera reads the aperture as f/1.3 when in fact it's set wide open to f/1.2. This may just be a firmware issue with the adapter. This is the first electronic lens for Canon EF mount from Rokinon so I don't think Sigma would have included support in an adapter that precedes the new SP line. Regardless, everything worked well from a usability standpoint and these quirks never inhibited my acquisitions in any way. I'll continue to add more sample photos as I shoot more with the pair of SP primes. The primary weekend I took these out for field testing I was on a family vacation. So most of the photos are of my children and our friends. I didn't want to post a bunch of samples of little kids. Cause... you know. Below is a few shots taken with the 14mm SP. No distortion or sharpening applied in post. Just a few exposure corrections. Click the "full size" link in each photo and enjoy some pixel peeping. [gallery ids="6354,6351,6352,6353" type="rectangular"] And here's a couple of shots with the 85mm SP. Again, I'll add more later so be sure to check back soon. [gallery ids="6360,5998" type="rectangular"] So who is this lens for? It's certainly not for the action pro or wedding snapper... The fully manual focus movement and ultra shallow depth of field make it an extremely deliberate lens that requires an experienced hand when it comes to accurate focusing. I rarely use auto-focus lenses and was pretty confident racking focus on the Rokinon 85mm SP, but for someone who's spent their life or career working with AF lenses, this'll be a difficult lens to love. It's electronic aperture will also alienate the Rokinon SP from most cinematographers. With the lack of manual aperture control, this lens will mostly be picked up by enthusiasts who are looking for high quality, ultra shallow focus, that perhaps can't justify spending the extra cash for a Zeiss OTUS prime. The 14mm Rokinon SP will be an easier sell as it'll appeal to astro-photographers quite a bit. With it's corner to corner accuracy and relatively fast aperture of f/2.6, I'm certain it'll become a popular option for those that aim higher than the rest of us. I fully expect Rokinon to add additional focal lengths to the SP line. I'd love to see a revised ultra fast 35mm as this is among my favorite focal lengths for APS-C bodies. And who knows... Maybe we'll see this glass make it's way into a XEEN-style housing with enhanced features. Fingers crossed!
Sigma has just announced the development of a 14mm T2 and 135mm T2 prime lens. Based on the Sigma ART line of optics, these two new primes will join the already impressive 20mm, 24mm, 35mm, 50mm and 85mm . This news comes as no surprise to anyone who follows Sigma. The photo version of these lenses which were released earlier this year, seem like they were designed specifically to join the Sigma Cine family. They're a welcome addition and render the Sigma Cine Primes a powerful option for cinematographers.  The standard set of primes have yet to begin shipping and Sigma is already working on completing the lineup of primes. Once available, this will give cinematographers a Full Frame set of primes from 18mm all the way to 135mm. If you haven't had a chance to try out the 14mm and 135mm ART lenses (the primes that the new Cine versions are based on), do it! The optical performance of these lenses is impressive to say the least, even wide open. [gallery ids="6329,6330" type="rectangular" link="none"] Similar to the rest of the Sigma Cine Primes, the 14mm and 135mm will share common gear position, 180 degree focus rotation, and will be available in Canon EF, Sony E, and PL mount. The standard set of primes (20mm through 85mm) is due to begin shipping next month (May). You can find them all available for pre-order here. As for the two new models, no firm ship date or pricing just yet.
sigma_zoom_setIn other Sigma news - the High Speed Zooms in PL mount will also begin shipping in May with a few additions to the line including swap-able metric and imperial focus scales (authorized service centers) and fully luminous markings. The luminous markings of the 18-35mm and 50-100mm were previously located only on critical sections such as the focal length label and the witness marks. With the fully luminous version, all of the distance marks, witness marks, and critical info will be visible in low-light conditions thanks to luminous "glow-in-the-dark" paint. Sigma has also confirmed and begun the mount exchange program for their Cine lens which offers users to opportunity to swap mounts between Canon EF and Sony E mount for a small fee, similar to the service they already offer for their ART line of lenses. However, Sigma states that the service will not be available to change lenses from EF to PL :-( Be sure to swing by the Sigma booth at NAB to get your hands on the new 14mm and 135mm Cine Prime along with the rest of the Sigma Cine family. If you see me there, say HI!
A favorite focal length of still photographers, and naturally of hybrid cinematographers bridging the gap between the worlds of still photography and motion picture, the new 70-200mm Compact-Servo is sure to be an ideal choice for the ultra-light documentary shooter. Canon's 18-80mm Compact-Servo was announced about the same time last year, just ahead of NAB 2016. If you're unfamiliar with the Compact-Servo line, imagine all the camera operators in the world using Canon's L series still lenses. Now imagine half of them called Canon and complained that their L series lens doesn't hold focus through the zoom and it doesn't have integrated gears, and the focus isn't reliable or repeatable... Then imagine Canon going to their engineers and explaining this - and that's where we get the Compact-Servo zooms.  HR_CN-E70-200_T44L_IS_SLANT_FL_CL The Compact-Servo zooms are a true hybrid lens. They take what's necessary of both still photo and motion picture worlds and mash them into one product. There are, of course, shortcomings as a result. Keep in mind, there are laws of physics that must be obeyed. As it always is in lenses - compromises must be made. And in the case of the Compact-Servos, the benefits outweigh the limitations for the shooter that this series is designed for. The 70-200mm is ideal of the lightweight, nimble production that needs to fit two small, light zooms into a small pack along with a camera and accessories. With the pair of Compact-Servo zooms, 18-80mm and 70-200mm, you're covered from 18mm all the way to 200mm at less than six pounds total. Think about that for a second... 70200features All of the features are pretty similar to the 18-80mm Compact-Servo including the image stabilization, parfocal design, super fine auto iris with Canon cinema cameras, Constant T-stop through the zoom range, Servo zoom control (powered through the EF mount), auto focus (which is pretty clever when used in conjunction with Canon's face recognition cameras for tracking)... I'm starting to sound like the brochure here... But you get it! Basically, there's a ton of cleverness going on under the polymer body of this lens. 70200 grip We'll be sure to do some more testing with this lens, not only at NAB next week, but when production models start shipping later this year. There's no official word on pricing yet - but we expect it to be on par with the 18-80mm which carries a list price of $5,699. For the spec lovers: Compact-Servo specs  
Ahead of NAB 2017, Angenieux has announced another addition to the Optimo Style line of zooms - a 48-130mm T3. The 48-130mm features a 2.7x zoom range along with the other lightweight Optimo Style zooms, the 16-40mm and 30-76mm. It weighs 4.3 lbs and Angenieux states it is idea for hand held, steadicam and drones productions. Likely a variation on Angenieux's 45-120mm Optimo zoom, the 48-130, along with Angenieux's particular image characteristics, will be color matched to the Optimo series and will fit in well as part of a set. The lens comes in PL mount and will have optional interchangeable Panavision and Canon EF mount. This lens will put you back $22,999 and shipping is expected to begin... Still waiting to hear back from Angenieux on this one. Check back soon! If you're heading to NAB be sure to check out the new zoom at Angenieux's booth C9039 (central hall), and, as always, send your questions to sales@ducloslenses.com
Zoom Ratio 2.7x
Focal Length 48-130mm
Aperture T3 (no ramping)
Close Focus 3' 1" / 0.94 m
Image Circle 34.6mm
Weight 4.3 lbs / 1.95 kg
Length 8.1" / 206mm
Front Dia. 114mm
You can find the new Angenieux Style zoom Pre-Order along with the entire Optimo family here.
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