Angenieux have just announced their new EZ series zoom lenses, which feature user switchable mounts and user switchable formats. EF on s35, E mount on FF, and anything in between. Your choice. Now that’s something worth exploring! The Angenieux Type EZ series So many choices… Which lens kit should I buy (or rent)? What are the requirements for the next job? These choices aren’t always easy ones to make, and we still can’t predict the future in terms of what the next camera will require. The new Angenieux Type EZ series zoom lenses could be the solution, as they not only offer user interchangable mounts but also another very neat feature: you can switch out the whole rear optical blocks to have the lens fit a s35 sensor or a full frame one. With a massive 46mm image circle in full frame mode, you can put this thing on whatever you like. Even a Red Dragon 8K sensor won’t be a problem for these zoom lenses. In fact, any Red camera recording at resolutions higher than 5.5K, ARRI Alexa Open Gate, ARRI Alexa 65 with VistaVision crop and also Full Frame DSLR cameras such as the Sony A7s Mark II, Canon EOS 5D mk 4, 5DS, 1DX Mark II. Again: your choice. In s35 mode, the diagonal of the image circle is up to 30mm. While the process of switching mounts is rather easy, switching out the rear optical block is a little bit trickier, and certainly shouldn’t be done on a busy set on the side of the road. But it is possible and that is the real point here! It’s also worth mentioning that when switching the rear optical block from FF to s35, it acts a little bit like a Speed Booster, increasing the aperture from T3 to T2. Not having to choose between either version when investing in glass certainly can bring great peace of mind, especially in a time when new cameras are coming out every few months. With the EZ Series, Angenieux is filling a wide open gap between their highly acclaimed (and very expensive) Optimo cine zooms and standard ENG style zoom lenses which often lack the distinct cine look. Two Versions, Multiple Choices There are two versions of the EZ series zoom lenses, the EZ-1 and the EZ-2. As mentioned above, both of them can be configured as either s35 or full frame versions. Here are the differences between them: The Angenieux Type EZ-1 is a standard zoom lens with a zoom factor of 3x. When configured for S35mm cameras, the focal range and aperture are set to 30-90mm F1.9 / T2. By exchanging the rear lens group, the lens becomes a 45-135mm F2.8 / T3 covering an image circle up to 46mm diagonal. The EZ-1 in s35 mode The Angenieux Type EZ-2 is a wide zoom lens with a zoom factor of 2.7x. When configured for S35mm cameras, the focal range and aperture are set to 15-40mm F1.9 / T2. By exchanging the rear lens group, the lens becomes a 22-60mm F2.8 / T3 covering an image circle up to 46mm diagonal. the EZ-2 in FF mode On top of that, every version is compatible with either PL, EF, or Sony E mounts. Your choice, remember? Another nice thing are detachable ENG style zoom servo grips and other accessories which will be made available by MOVCAM in the near future. Specifications of the EZ Series: EZ-1 FF mode 45-135mm T3 / f2.8, image coverage up to 46mm diagonal Lightweight (2,050g / 4.5 pounds) EZ-1 s35 mode 30-90mm T2 / f1.9, image coverage up to 30mm diagonal Extremely fast T2 across zoom range with no ramping Lightweight (2,150g / 4.7 pounds) EZ-2 in FF mode 22-60mm T3 / f2.8, image coverage up to 46mm diagonal Lightweight (2,070g / 4.6 pounds) Extremely wide coverage with minimal distortion EZ-2 in s35 mode 15-40mm T2 / f1.9, image coverage up to 30mm diagonal Extremely fast T2 across zoom range with no ramping Lightweight (2,120g / 4.6 pounds) Extremely wide coverage with minimal distortion Also, all EZ zoom lens share the following features: Internal focusing & zooming, lens size remains constant throughout zooming & focusing range. Traditional Angenieux look: colorimetry matches those of Optimo & OPTIMO STYLE series. Short MOD 0.6m / 2 feet In-lens thermal compensation, significantly reduces temperature drift. Precise and ergonomic focus ring with scale rotation of 300 degrees Luminescent FTZ markings, easy reading in dark Available with PL lens mount, easy conversion to EF or E mount by users Front diameter 114mm, matte boxes compatible with those used on OPTIMO & OPTIMO STYLE compact zooms Detachable ENG style zoom grip available from MOVCAM Conclusion What do you think? Are we seeing the start of a revolution? Depending on the price that’s yet to be announced, this developement could be a real investment saver for many of us. With the shorter lifespans of cameras it’s nice to have some peace of mind when it comes to the often very expensive lenses we use with them. Deliveries are expected to start from the 1st quarter of 2017. If you happen to be around for IBC, stop by at the Angenieux booth as some prototype lenses will be shown there. Booth #12.E33 For more information, please head over to Angenieux’s website.Read more
Canon’s legendary 5D DSLR series has a history of huge market impacts. The 5D mark II changed the movie industry, the 5D mark III despite its limits brought a new area of clean HD video and beautiful RAW recording through hacks. Today, three years later, Canon tries revolution again by bringing medium format resolution into a “normal” DSLR. The Canon 5DS & 5DS R are here. Oh, and they can also do video, but nothing fancy it seems. Sporting a 50.6-megapixel sensor (8688 x 5792 pixels), the 5DS & 5DS R are now the highest-resolution DSLR cameras in existence. In comparison the Pentax 645Z does 51.4 Megapixels and the new $25,000 Leica S delivers 37.5 Megapixels. There’s no question this will stir up the photography market once again. Because if you’re into stills then you know that pixels become more relevant every day and medium format photography has been out of reach for the prosumer type photographer, just as until recently 2K & 4K have not been an option for the prosumer filmmaker. Speaking of which, what about video on the Canon 5DS? Well it seems Canon wouldn’t call this one a “C” camera, as they refer to their line of movie shooting large sensor bodies. The Canon 5DS & 5DS R is limited to do HD video in these modes: MPEG-4 AVC / H.264 video with linear PCM stereo audio. • 1920×1080 at 29.97, 25 and 23.98 fps • 1280×720 at 59.94i and 50i Just like the 5D mark III, the 5DS & 5DS R come with ALL-i and IPB compression modes. Something new is the port protector the 5DS comes with, intended to protect hdmi connections as they are prone to break the connector on the camera. A feature hint that we yet have to confirm comes from a comment on Ken Rockwell’s website who had a chance to play withe the camera and states that “The shutter button can be programmed to capture stills while rolling video.”. This sounds like the 5DS will allow you to shoot stills without interrupting video capture. As always the real video quality of a camera has to be tested properly and can’t be judged by a feature list alone. We will soon test the Canon 5DS in our test lab and compare its video functionality to similar cameras on the market. 5DS, 5DS R, what’s the difference? You guessed it, the 5DS R eliminates the low-pass filter effect to make images sharper while in turn having a greater potential for moiré and other color artifacts. There’s a video on the Canon channel that shows off all the new features of the Canon 5DS & 5DS R: The Canon 5DS & 5DS R will be start shipping in June and costs $3699. The camera is already available for pre-order here. We expect to see more new cameras by Canon in the next months.Read more
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