Cinema Lenses

Cinema Zoom Lenses

People have been shooting HD video with DSLR cameras packing still lenses for years—mostly with fixed focal length lenses, which are often referred to as "prime" lenses in the film industry. In general, zoom lenses made for still photos are a poor fit for cinema production. You can use them, as many low-budget indie productions do, but they lack many necessary features.

Cinema Lenses

Watch and listen as Mia McCormick, of Kelby Media, discusses what makes cinema lenses different from other lenses and why they make a great choice for video work. Using the Samyang 24mm T1.5 and Rokinon 85mm T1.5 as examples, McCormick explores the optical and mechanical construction of cinema lenses, including manual control, increased focus throw, and follow focus gearing.

Hands-On Review: the New Rokinon 16mm Wide-Angle T2.2 Cine Lens for APS-C and Micro Four Thirds

Rokinon has just released a 16mm T2.2 wide-angle cine lens designed for APS-C and Micro Four Thirds cameras. The lens continues Rokinon’s trend of adapting their DLSR lenses to a more video-friendly housing. With the same optical formula as in their 16mm f/2.0 AS UMC CS Lens, the 16mm T2.2 is a fast, full-manual-control prime lens that filmmakers using APS-C and Micro Four Thirds mount cameras are sure to appreciate.

Canon Cinema EOS Line, Part 6

In this final episode of our six-part series on Canon's Cinema EOS line, cinematographer David Leitner walks us through the results of a recent 4K test shoot with the C500 camera and an AJA Ki Pro Quad recorder in New York's Central Park.

Canon Cinema EOS Line, Part 5

In this fifth part of our six-part series on Canon's Cinema EOS line, David Leitner presents the lens options available to digital cinematographers who use the C500, C300, C100 and 1D C cameras. There is, of course, the universe of EF-mount lenses, including Canon's high-end L series and stepper-motor drive (STM) lenses.

Canon Cinema EOS Line, Part 4

In this fourth part of our six-part series on Canon Cinema EOS, David Leitner focuses on 4K production and post-production workflow, listing a plethora of options that involve both RAW and compressed (ProRes, DNxHD) capture of 4K footage.

Canon Cinema EOS Line, Part 3

In the third segment of our six-part series on the Canon Cinema EOS line, cinematographer David Leitner elucidates the Canon EOS C500 and EOS-1D C cameras, two very different bodies: The C500 is a camcorder with a Super 35-size sensor that looks much like the C100 and C300, while the 1D C is a DSLR body with a much larger full-frame sensor.

Canon Cinema EOS Line, Part 2

In this second segment of our six-part series on the Canon Cinema EOS line, cinematographer David Leitner delves deep into the Canon EOS C300 and EOS C100, two digital cinematography camcorders that shoot HD. The C300 captures XF-codec HD video to CompactFlash cards, while the C100 captures high-quality AVCHD files to SD cards.

Canon EOS Cinema Line, Part 1

This is the first part in a six-part series about Canon's groundbreaking Cinema EOS camcorders and lenses that are designed specifically for digital cinematography. Award-winning cinemtographer David Leitner takes us through an introduction to the line, exploring the highlights of each camera.

Holiday 2012: The Year's Intriguing Lenses

2012 has played host to numerous camera and lens announcements, many of which are improvements over past products, while others are entirely new designs full of intrigue. The main innovative duty of lenses is to keep up with the cameras themselves and to capture greater detail and information.

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