After the success of their ART lenses, the Sigma cinema line of primes and zooms marks their foray into the cine lens market. Responding to the success of the ART range, Sigma has designed a new range for videographers and cinematographers, with 8 new fast cine primes and zoom lenses for full frame and super 35/APS-C cameras. The optics are the same as the ART range, but rehoused into a cinema lens with gears and 180 degree focus throw. The Sigma Cinema prime lenses come in focal lengths of 20mm, 24mm, 35mm, 50mm and 85mm, all at a very fast aperture of T/1.5, and are all full frame compatible. They come in EF, PL and E-mount, have rugged metal housing and a front diameter of 95mm, meaning they can be easily changed on a camera rig or matte box/follow focus setup. The Sigma Cinema 18-35mm and 50-100mm zoom lenses are for super 35/APS-C, with a fast aperture of T/2 and ready for high resolutions of 6K and 8K. They are also compact in comparison to other lens models, keeping the camera footprint small without compromising on quality. They’ll be available in EF, PL and E-mount, with a filter size of 82mm; ideal for swapping ND filters. The 24-35mm is the full frame zoom model in the Sigma Cinema range, with a maximum constant aperture of at T/2.2. It is also very compact and 6K/8K ready, and will be available in EF and E-mount, with no PL mount option (yet). Following suit with the other lenses, the size and filter thread diameter is the same at 95mm and 82mm respectively. Sigma also have a mount conversion service, should you wish to convert the full frame 24-35mm to PL mount. [UPDATE]: The Sigma 24-35mm T2.2 will not be available for PL mount, so you the conversion to PL mount will not be possible. Pricing is still to be determined, but the two super 35 zooms are expected to be available at the end of 2016, with the full frame zoom and prime lenses becoming available in spring 2017. In Europe, you can get more info from CVP here. Like the look of the new Sigma cine lenses? Let us know in the comments!Read more
The new XEEN budget cinema prime lenses are a big deal. I have not referred to them as “low budget” because at $ 2,495 each, they aren’t exactly “cheap”. They are however specified and priced perfectly to take advantage of a gaping hole in the lens market that is growing year on year and has not been filled, until now. Here are 5 reasons why the new XEEN lenses could make a significant impact on our landscape. A long overdue market correction in the price/performance ratio We’ve all seen our camera specs and capabilities go through the roof, and at the same time prices have hit the floor. The same cannot be said of our glass. Up until now, the established lens manufacturers have been propping up prices for “entry level” cinema glass simply by not introducing products at a lower price point. The closest we’ve had so far are the Zeiss Compact Primes, Canon Cinema Primes, Sony Cinealta and Schneider Xenon FF which while far more affordable than a set of Ultra Primes, Master Primes or Cookes, have still left many of us out in the cold making do with photography glass. The problem with using stills originated photography lenses for video is that the requirements are different enough to cause problems. Photo lenses breathe a lot more than their cinema counterparts, this means that there is a slight but noticeable change in angle of view with movement of focus. Cinema lenses are usually built a bit tougher, they have metal housings of a unified size and front diameter, and some meaningful weight to them that instills confidence. They have manual focus and iris only, a long focus throw and smooth detent free aperture. They “feel” good, and lets face it, many plastic photo lenses do not. Strategic positioning Samyang have strategically placed themselves front and center already for many of us with their fantastic VDSLR primes. These lenses are just really good considering the price point. Many of us rely on them and will continue to do so. The VDSLR range have already placed Samyang right where they needed to be to introduce XEEN. Performance XEEN really have gone all out and covered all the bases. These are more than just rehoused Samyang VDSLR (Rockinon Cine DS) optics. XEEN have been careful to build proper cine lenses here in every way that matters. Let’s just take a quick look. 1. Full Frame Sensor Coverage 2. High-speed T1.5 aperture 3. High resolving power and high tech coatings 4. Interchangable Lens Mount 5. Unified front diameter 6. Aluminum housing 7. Standardized positions for focus and aperture gear rings Perfectly priced Some may disagree, but I actually believe these lenses are priced perfectly. There is a formidable amount of engineering, precision manufacturing, assembly and testing that goes into a cinema lens. These lenses represent amazing value. The XEEN primes are in a very affordable space for many pro videographers and cinematographers who will quickly be able to realize a return on the investment. You can find pricing on individual XEEN lenses and pre-order HERE. More to come The current three lens set comprises a 24mm, 50mm and 85mm which is a pretty much ideal set for the vast majority of shoot situations. However, it will be filled out with three more yet to be announced focal lengths “coming soon”. For more information check out the following links. Official XEEN Facebook Page: https://www.facebook.com/xeenglobal XEEN Website: http://www.xeenglobal.com A great article by Matthew Duclos: Rockinon Takes Aim with New Xeen Cinema Prime Lenses First Look Xeen Cinema Primes by Cam Noir on Vimeo:Read more
We had the chance to get some hands-on experience with Sony’s new and long-awaited FE PZ 28-135mm F4 G OSS cine lens and talked directly to Sony’s cine product manager Sadanobu Ueda who explained all the details about the new lens on (see above) and off camera. Why is this lens important? Many users of large sensor cameras, be it dslr video users or those who use larger cinema cameras, have had to resort to photo lenses for large sensor video use. The new Sony FE PZ 28-135mm F4 G OSS cine lens is the first dedicated video lens for large sensor cameras. Here’s a list of the most important features: It has an ideal zoom range for most applications ranging from wide angle to close-up focal lengths. It has a continuous aperture of F/4.0. The lens can be controlled with accessories like motors or manual follow focus units due to it’s geared design, yet the focus rings are rubberised for easy handheld use. The focal length can be controlled with a built-in zoom rocker (zoom). The built in motors can also be controlled remotely from cameras with a zoom rocker (Sony FS7). With the flip of a switch the aperture can be clicked or de-cllicked for smooth operation. The lens features an optical image stabiliser. Hands-On Experience We had some hands-on time with a prototype of the lovely new lens and we can tell you that it truly is a lovely and sharp lens. Unfortunately we are not allowed to publish the footage we shot, but will reveiew the lens more in-depth in the future. The aperture F/4.0 seems to go all the way through, unlike Canon’s own and frequently used Canon 24-105mm that gets darker at the far end. The images appear very sharp and clear and we couldn’t see any obvious chromatic abberation or softening at F/4.0. We were told it is made for 4K applications. The optical image stabiliser behaved very nicely and smoothly and a lot like the one we know from the Canon 24-105mm, probably even a little better. We could use the 135mm focal length and get an extremely stable image from a handheld A7S. A very very welcome feature is the fact that you don’t lose focus when you change the focal length. So you can zoom all the way in to focus and zoom out again to retain a focused image, just like on a proper ENG lens. The declicked aperture is a wonderful feature to have. Overall the lens feels very well manufactured and strong. What we didn’t like so much was its size and weight. The Canon in comparison is definitely a more compact lens. Also we realised that the zoom was always motor-controlled. So even if you change the focal length with the zoom ring on the lens itself, it’s always a motor inside that actually controls it resulting in less precise and slower focusing possibilities. The lens will be available early next year and cost $2.499. It is already available for pre-order.Read more
We’ve been reporting about LockCircle’s “Prime Circle” cine EF lenses at NAB 2012 (LINK) and the new and innovative sliding Mattebox that was recently released. They extend their range of rehoused Zeiss lenses to make them film-compatible with the 15mm f2.8 lens, a high performance extreme wide angle lens that was released earlier this year with some stunning specs (LINK).Read more
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