Cinema Prime Lenses
If you’re looking to capture finely detailed, high-quality images in full-frame format, check out NiSi’s new ATHENA Cinema Primes. Introduced at NAB 2023, this series of five primes features a common T1.9 maximum aperture, ultra-low chromatic aberration, controlled contrast, and soft bokeh.
NiSi’s new
To accommodate more digital cinema cameras with smaller and smaller form factors, Cooke has combined the “Cooke Look” with an ultra-compact, lightweight housing in its new S8/i FF cinema lens line, providing the best of cinematic imagery and mobility. The S8/i FF line features seven new lenses with a very fast T1.4 to T22 aperture range, and they cover an expansive area with the 25mm,
ZEISS lenses have long been renowned for capturing sharp, accurate imagery for still photo and cinematographic applications. As some manufacturers continue to blur the line between still photo and digital cinema cameras, ZEISS has introduced several lens series that are ideal for content creators who are moving from stills to video or who work in both mediums. The lenses in these Batis,
If you’ve already picked up a set of Pictor parfocal zoom lenses from DZOFilm, its new line of cinema prime lenses will complete your production set. The new DZOFilm VESPID prime lenses include 25, 35, 50, 75,100, 125mm, and 90mm macro models with a PL mount and an EF mount option. Each prime lens features a fast T2.1 aperture and a 16-blade iris to produce
Banish those end-of-summer blues by treating yourself to some new cine-style lenses from Rokinon and Samyang! These Rokinon T1.5 DSX High-Speed Cine and Samyang T1.5 VDSLR Mark 2 lenses will be available soon at B&H Photo in 24, 35, 50, and 85mm focal lengths with a 14mm version due early in 2021. Designed to cover full-frame sensors, these primes are compatible with a wide range of cine-style, DSLR, and mirrorless cameras.
Choose from Rokinon Cine DSX Canon EF,
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Add another quality cine-style prime lens to your Blackmagic Pocket Cinema Camera 4K, Z CAM E2, or other MFT-mount cine camera with the fast MicroPrime CINE 21mm T1.6 and 50mm T1.4 MFT-mount lenses, the two latest offerings from SLR Magic. These two new prime lenses join the diverse MicroPrime CINE MFT-mount line that
Filmmakers, take heed: the Leitz Cine Primes and Zooms are sharp, with natural-looking bokeh and round, out-of-focus highlights, and they cover VistaVision. Lenses, not diamonds—it is lenses that are forever, or at least a long time—provided you get the right one. Even in this digital age, with new sensors and new cameras coming fast and furious, your lens investment can outlast the most recent camera. The lens that
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Sigma has always been that go-to lens for quality, reliability, and price advantage, compared to other high-end cinema lenses. And the company has just moved its cine lens lines forward again, at IBC 2019—and in a way, back in time. First, Sigma released a new PL to L-mount lens adapter to add PL lenses to cameras such, as the Sigma fp. Second, the company has updated its popular FF High Speed Prime lens line to a new Art Prime line, which include Cooke /i technology. And last and definitely not least, a new FF Classic Prime line has been
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Canon has developed a completely new line of fast PL-mount cinema primes, named Sumire, which are designed for beautiful rendering characteristics as they approach wide open. Jake Estes, from B&H, took this set of full-frame lenses out for a test shoot with the Canon C700 FF and shared his thoughts. The set included a 14mm T3.1,
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Cinematographer Mark Raker gets his hands on Sigma’s FF high-speed prime focal lenses and pairs them with a Canon C700 shooting at 5.9K and a Sony A7S II shooting at 4K. With specs like a 95mm front diameter, 0.8 moduling,
The SLR Magic booth was lined with cinema lenses, running the gamut from E-mount to PL mount and spherical to anamorphic. New at this show, however, are more options for E-mount cameras by way of the MicroPrime CINE series of lenses. Optically speaking, these lenses feature the familiar optics of their currently available Cine lens line, but housed in a cinema-grade metal exterior with matching dimensions and focus/iris gear positioning, with a lens ring marked in T-stops instead of F-stops.
25mm, 35mm, 50mm, and 75mm focal lengths will be
Better known for filters, NiSi dove headfirst into the cinema-lens world with the company’s announcement of the F3 prime lens series. Currently comprised of a 25mm T2.1, 35mm T2.0, 50mm T2.0, 75mm T2.0, and 100mm T2.0, this full-frame set is optimized for current-generation high-resolution sensors and, with 46.5mm of coverage, will work with all the latest and greatest camera systems, including the ARRI Alexa LF, Red Monstro VV, Canon C700 FF, Sony Venice, and plenty more. The lenses also offer a distinct style and look, with stylized flare
ARRI is a brand name that has been long associated with cinema, and products that bear the ARRI name are renowned for the utmost in quality, usability, and reliability. Optics are no different. ARRI lenses are used the world over for cinema, television, and commercial production. As a matter of fact, ARRI developed the newer, large-format LPL lens mount and the original PL mount. Robust, yet simple in design, these lens mounts serve as the standard for cine-style cameras. Reliably introducing new technologies and implementing creative designs