by Graham Sheldon | 30th December 2016
2016 was the year that gorgeous cinema lenses became available for the mass market. Unless you previously worked on Game of Thrones, getting your hands on a lens from Angenieux was a distant dream, or relegated to very special shoots. Thanks to companies like SIGMA, ZEISS, Tokina and Angenieux themselves, we’ve seen new “budget” cinema-friendly primes and zooms pop up throughout the year. Here are our picks for the best lens announcements of 2016: Zeiss LWZ.3 21-100mm T2.9-T3.9 (EF, PL, MFT): cinema5D’s very own Nino Leitner took the Zeiss LWZ.3 21-100 T2.9-T3.9 to South Africa earlier this year and loved it for field doc shooting, except for the lack of a servo control. My very favorite documentary shooting lens range falls right in line with the Canon 24-105 F4 w/IS, so 21-100 is an excellent range for doc coverage in my opinion. With a price tag of $9,900, this is also a rare sub-10K purchase option from Zeiss. With a weight of 4.4 lbs, this zoom also won’t break your back while filming in the field. Pre-order HERE. Director of Photography Nino Leitner using the ZEISS LWZ.3 on the shoot in South Africa SIGMA Cinema Lenses (EF, Sony-E, PL): We announced SIGMA’s impressive lineup of new cinema zooms and primes after IBC earlier this year. The Sigma FF High Speed Cinema Prime lineup, shipping in 2017, will be available in focal lengths of 20mm, 24mm, 35mm, 50mm and 85mm, all at a speedy T1.5. The two new Super 35 SIGMA High Speed Cinema Zooms covering 18-35mm and 50-100mm at T2.0 are slowly making their way out into the wild, too. We are currently working on a review of the two High Speed Cinema Zooms, and they look great with no visible vignetting until you reach 6K at 18mm. Both of the high speed S35 zooms are priced at a fantastic $3,999 and carry the prestigious ART lens pedigree into their image. The High-Speed Zooms are available for purchase and the primes are available for pre-order HERE. SIGMA 35mm T1.5 Cinema prime. Tokina Cinema Primes (EF, PL): Announced at IBC 2016, the Tokina 35mm, 50mm, 85mm T1.5 cinema primes are being touted by cinematographers such as Phil Holland for their coverage of the 8K RED Helium sensor. As for their price, the Tokinas are competitive with the indie favorite Zeiss CP.2 lineup, priced at between $3,999.00 and $4,499.00. Tokina also introduced their “affordable” cinema zooms earlier in the year, such as the Tokina Cinema 11-16 T3.0, Tokina Cinema 16-28mm T3.0 and Tokina Cinema 50-135mm T3.0. Angenieux EZ Line (PL): Angenieux’s “affordable” EZ line was also announced this year and is available for pre-order now, with an expected availability in Summer of 2017. Despite the long wait, the chance of getting an Angenieux cine zoom image for a cost of $10,185 makes this a B&H shipment worth waiting for. Available in both Full Frame/VistaVision and Super 35 versions, these new zooms cover 30-90mm T2.0 (EZ-1) and 15-40mm T2.0 (EZ-2) in their S35 configuration. Available for pre-order HERE. Sony 18-110mm f/4 G OSS (E): Announced at IBC in Amsterdam, this S35 Sony zoom lens aimed at pro videographers covers a wide range of focal lengths with a consistent F4 aperture throughout. Sony has packed a new technology into this lens called Smooth Motion Optics, which promises to reduce breathing, and remove focus and axis shifting. Optical steady shot (OSS) is also built into this lens for improved handheld work and there are three separate rings for zoom, focus and aperture control. Available for pre-order HERE. Expected to ship in January, 2017. ZEISS Otus 28mm f/1.4 ZF.2 Lens (EF, Nikon): The Otus line is quite simply gorgeous and we couldn’t do a list like this without mentioning the ZEISS Otus 28mm f/1.4 that shipped this year in EF and Nikon mounts. This is the kind of lens you want to take out for night-time star timelapses, and although it isn’t especially cheap at $4,990.00, you get what you pay for with this beast of a lens. If you were going to send in any lens in your kit to companies like Duclos Lenses for cine modification, this would be the one. Available HERE. Zeiss Otus 28mm F/1.4 Lens Honorable Mentions: XEEN Line from Samyang: The Xeen line of cinema primes is slowly being fleshed out to be a complete set, with the 135mm T2.2 just released this year, albeit at a somewhat slower speed than its predecessors. You can now purchase the complete Xeen set of 14, 24 , 35, 50, 85 and the new 135mm HERE. Canon CN-E 18-80mm T4.4 SERVO Cinema Zoom Lens (EF): The Canon CN-E 18-80mm T4.4 features a great focal length range for documentary and includes servo control and image stabilization. The addition of the servo brings smooth zoom moves back as an option on cameras like the Canon C300 MK II. Its price of $5,225.00 makes it an attractive “budget” purchase, but the T4.4 speed is limiting and will mean high ISO shoot days for any interiors. The lens also lacks hard focus stops, which makes it less than ideal for follow focus use. Its auto focus and stabilization tech are also only designed to pair well with Canon Cinema EOS cameras at this time, so if you have a Canon C-line camera already, then this just might be the zoom for you. Purchase HERE. All around, a great year for optics manufacturers looking to give owner/operators a chance at owning their very own cinema lens kit. Several of the lenses listed above have yet to ship or are just now making their way out into the hands of happy shooters worldwide. Will you be picking up a new prime or zoom lens for the holidays? Comment below!Read more
by Olaf von Voss | 8th September 2016
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
by Sebastian Wöber | 29th May 2011
The people over at Teton Gravity Research do the filming on some of the suicidal alpine skiing and snowboarding action we all know from tv. Apparently not only the people in front of the camera are out to push the limits. Todd Jones, one of the founders of said production company wrote an article on how they successfully transformed an Angenieux 16mm 12-240 lens to go with a Canon 7D by machining the lens itself and a custom mounting bracket. The setup is as follows: Bayonet mount Angenieux 12-240 lens | Bayonet Optek Doubler | bayonet to PL converter | EOS to PL mount | 7D On the 7D, with the 1.6 crop factor, the lens gives them 38mm-768mm focal length. Todd Jones: Typically, we had been shooting an Angeniuex 16mm 12-240 lens. This is roughly the equivalent of a 24-480 in the 35mm world. This lens has allowed us to get super long shots of athletes skiing big and dangerous slopes from a spot where the camera would be safe. The big zoom also allows the flexibility of adjusting framing from very long distances while trying to be light and move fast in the mountains. They published a lens test in the form of a video which you can see below. It looks like the guy they filmed almost dies while he’s falling down the whole face of the mountain, but luckily it didn’t distract anybody from continuing the testing. Enjoy: The video shows that the lens has a certain soft look to it, but there seems to be little chromatic abberation and the zooming range is of course very stunning for a film lens. Teton Gravity Research offers to sell one of these kits for $4,500 USD but as Todd says: This is not a business we are trying to start, we simply feel like we want to be able to help someone who wants this lens get it if they can’t create it themselves See the related article on tetongravity.comRead more
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