Samyang has been quite busy lately. Among other mostly photo-related lens announcements, they have just unveiled the newest addition to their cinema lens line-up: the Xeen 16mm T2.6. The Xeen 16mm T2.6 Cine Lens Samyang keeps adding lenses to their current Xeen cinema lens line-up, with their newest addition just unveiled at this year’s Photokina. Sitting in between the 14mm T3.1 and the 24mm T1.5, the new Xeen 16mm T2.6 could become your new favourite wide angle lens. Due to its faster aperture, it might also prove to be much more versatile than the 14mm T3.1 option. Samyang’s Jeon Min, Shin claims that the decision behind introducing a model with these specs is that the former wide angle option, the Xeen 14mm T3.1, may be just a little bit too wide (and more importantly, too slow) for most cinematographic needs. This newest addition brings the whole Xeen range of lenses up to a grand total of 7 primes to choose from: 14mm T3.1 16mm T2.6 24mm T1.5 35mm T1.5 50mm T1.5 85mm T1.5 135mm T2.2. Maybe we’ll even see some more focal lengths to choose from in the future? At this rate of development, this might just be the case. the Xeen 14mm T3.1 , maybe the new 16mm T2.6 is the better option? The Xeen range of cine lenses are improved versions of Samyang’s previous line of VDSLR lenses for cine use, but are enhanced in a variety of ways, such as with newly formulated coatings, a stronger housing and shared aperture and focus gear position. It’s worth mentioning that in the case of this particular lens, it also improves upon its cheaper VDSLR-line version by covering a full-frame imager, rather than being Super35mm-only like its earlier counterpart. Pricing and availability The new Xeen 16mm lens will be available at the end of this year, and will be the same price as other Xeen cine primes at around $2,495. Just as all the others, the Xeen 16mm prime will be available in various mount options, such as Canon EF, PL, MFT, Sony E and Nikon F.Read more
Back in May, Samyang announced their venture into the world of autofocus optics with the Samyang 50mm FE and Samyang 14mm FE. The Full frame E mount 50mm was released first, and now we’ve finally got pricing on the 14mm. We’ve gone a bit full-frame, wide-angle mad over here at C5D towers. Check out Nino’s informal look at what Zeiss have to offer in the E-mount full frame sector. Samyang (Rokinon, Bower, etc, etc…) has now been around for quite some time, and is known as a cheaper lens alternative for all kinds of shooters out there. More recently, they’ve even entered the cinema lens market with their premium Xeen line. Auto focus was a big differentiator between this popular brand and other big players, but the announcement of these lenses back in May certainly was a big step towards narrowing that gap even more. The 14mm is an intriguing focal length, as a lot of full frame lens lines top out at 18mm. However, Samyang decided to push it that little bit further. I used the old, fully manual Samyang 14mm EF a long time ago, back before even the Cine versions had been announced. I was not overly impressed, to be frank. There was an abundance of unique distortion that resembled a true connoisseur’s moustache. I hope this new autofocus model is vastly different. Investigating the build of the lens, it carries the same properties as before: an aperture range of f/2.8-22, and elements/groups of 14/10 respectively. But this doesn’t really tell us a great deal about how these two kinds of 14mm really differ from one another. Samyang 14mm FE f/2.8 – Full specs: Aperture Range: f/2.8-22 Construction: 14 Elements in 10 Groups (3 aspherical lens) Minimum Focus Distance: 0.20m (0.656ft) Maximum Magnification Ratio: x0.12 Number of Aperture Blades: 7 Maximum Diameter: 85.5mm Mount: Sony FE/E Angle Of View: 113.9° (APS-C 89.8°) Length: 97.5mm Weight: 505g (with both caps) Lens Chart: A field of view of 113.9° will certainly excite many shooters out there for its quirkiness. Add that to its relatively cheap price tag, and I’m sure the Samyang 14mm FE will sell well. See the price below. Who will this sell to? With autofocus becoming more and more popular with certain types of filmmaking, I am sure that one-man-bands, low-key gimbal and/or drone operators will definitely like this. It will also naturally appeal to the people that regularly venture into stills.Read more
The Xeen cinema lenses released last year constitute the apex of Samyang’s catering towards filmmakers. Now, two new models have joined the Xeen family. A few years ago, Samyang’s affordable and all-manual photo prime lenses, became incredibly popular among budget filmmakers. Shortly after that, the Korean manufacturer built upon this initial success and continued to improve their range by featuring de-clicked aperture rings, focus gears and T-stop scales, and the Cine DS line of primes was born. Fast forward to 2015, when Samyang released their Xeen cinema lenses. Check out Richard’s article, from last August, which reveals why they are such a big deal. With an initial line-up of 24mm, 50mm and 85mm, the Xeen range offered a usable yet somewhat limited variety of focal lengths. However, promotional material on the Samyang page had been hinting at the imminent release of 2 new additions to the Xeen line. Well, they have finally been revealed. So, what new focal lengths can we expect from the new Xeen? Samyang is filling the centre gap with the standard and versatile focal length of 35mm. Landing between the 50mm—useful but potentially a little tight in certain situations—and the 24mm, which leans toward the wide angle side, the 35mm focal length will certainly be a welcome addition to the range. The other newcomer fills the gap at the ultra wide-angle end of the spectrum. With the release of a 14mm focal range rated at T3.1, we can see that Samyang’s Xeen range really reflects their previous Cine DS line rather than introducing completely new concepts, at least in what respects to focal lengths and T-stop rating. But Samyang couldn’t wait to leave us wanting for more. Upon revealing these two new additions, a new mystery lens has been added to their promotional material. Although it has been known for a while that there would be a sixth Xeen lens, initial speculation tended towards telephoto, perhaps a 100mm or 135mm. However, as you can see, we might see something quite different indeed. A strong contender for the new upcoming wide angle Samyang Xeen could be an 18mm, a focal length until now not available anywhere in the Samyang catalogue. There are of course other rectilinear wide-angle cine lenses in Samyang’s VDSLR range that they could draw inspiration from. The are, however, designed for APS-C or Micro Four Thirds sensors. All in all, considering the excellent build and image quality of the first three Xeen cinema lenses, we have nothing but high hopes for the new additions to the family. Be sure to check out Richard’s first impressions review for the low down on Samyang’s Xeen cinema lenses.Read more
Watch all other episodes of ON THE COUCH so far by clicking here! On the go? Subscribe to the Cinema5D ON THE COUCH audio and video podcasts on iTunes! It’s always refreshing to see companies who compete in the same or similar markets sit peacefully together and talk to each other, rather than trying to make others look bad for their own gain. We have this beautiful example here with ZEISS, SLR Magic and Samyang, three VERY different manufacturers of lenses. To be more exact, it’s Christophe Casenave from ZEISS, Andrew Chan from SLR Magic and Joost Wierenga for Samyang (from Disnet B.V. distributor).Read more
Here’s a list of all the co-branded Samyang lenses and how to get the best deals on them. These lenses are a good choice for filmmakers on a budget who are looking to shoot with prime lenses that are somewhat cine-worthy.Read more
Samyang will present a new lens at Photokina; the Samyang 12mm is an f/2.8 fish eye that covers the full frame image area. This is the first fish eye from Samyang to cover the full frame 24 x 36mm format. The lens optics consists of 12 elements in 8 groups, this includes 3 elements made of low dispersion ED glass and 2 aspherical lens elements to help reduce chromatic aberration and sustain image depth. The full name of the lens is the Samyang 12mm f/2.8 ED AS NCS Fish-eye; NCS tells us that this (like 2 other wide angle lenses from Samyang) features the new nanocrystal coating to help with contrast and anti-reflection. Like the newer revisions of their other fish eyes, the 12mm fish eye will feature a removable hood. There’s limited competition in the full frame fish eye class, with a maximum aperture of f/2.8 and likely price tag the Samyang 12mm fish eye it’s likely to become a popular choice. Currently Canon only produce one fish eye lens, the 8-15mm f/4 L. It’s a stunning lens (I own one myself) but does carry a price tag that may put some off considering it’s a specialist lens. Like all current Samyang stills lenses, this lens is manual focus only, it does not have auto focus; for this is a feature you’d have to turn to the more expensive Canon 8-15mm (or Nikon counterparts if you’re that way inclined), however some may overlook this feature as the fish eye look lends itself widely to deep depth of field shots, lessening the need for autofocus. Like all of these many-brand lenses, keep an eye out for the 12mm f/2.8 to appear under other brands such as Rokinon or Bower. I’d also expect a cine version to be released, which would offer a T stop rating, de-clicked aperture and focus gear. The Samyang 12mm fish eye will premiere at Photokina from the 16th September, if you’re attending be sure to check it out alongside their exciting new 50mm f/1.4.Read more
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