by Adam Plowden | 10th September 2016
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
by Olaf von Voss | 19th March 2016
You’ve got a shiny set of prime lenses or some of these massive zooms. Bravo! Now, let’s set these to work to your advantage. Let’s take a look at how to use focal lengths properly and then dive into the impact they can create for your audience. Understanding the concept of focal length in more detail than just knowing the numbers is essential when it comes to mastering the craft of filmmaking. Introduction to focal length The focal length of a given lens dictates what you’ll get from it in terms of the visual impact of the resulting imagery. Therefore, the choice should be well-founded. This post will not focus too much on giving a technical explanation of what is going on inside a lens, but about the impact that certain focal lengths will have on your audience and what filmmakers should keep in mind so that they can choose the “correct” focal length for their shots. A set of prime lenses. Samyang Cine DS 14mm, 24mm, 35mm, 50mm, 85mm, 135mm. What Focal Length does to the Image It’s really important to understand that different focal lengths will have very different effects on the overall aesthetics of captured images. As a simple rule of thumb, keep in mind that three effects are commonly considered most important: Depth of field Compression of space Three-dimensional feel of the resulting two-dimensional image When opting for a longer lens, an 85mm or 135mm for example, the depth of field will decrease—the focal plane that objects will appear in focus narrows. Of course, there’s another factor which affects the depth of field: a wide open iris will decrease the depth of field, whilst a nearly closed iris will increase it. A longer lens will also compress the space. That is to say that objects in the background will appear much bigger and closer than they actually are. This compression of space caused by a longer lens will also affect the three-dimensional feel. The resulting image will look somewhat flat. As you watch a two-dimensional screen, it is important to understand the impact that your choice of lens will have in terms of creating a three-dimensional look and feel to your footage. Different focal lengths and their impact on the resulting image. The examples above show the exact same framing (well, almost) on the foreground object—in this case, a lovely plushie—yet all six images differ greatly in terms of background compression, depth of field, and even distortion. For this series of stills, I moved the camera in with every lens used; the position of the plushie and the distance from the background remained the same throughout. Using the 135mm lens, the sensor plane of the camera was 155cm (61 inches) away from the object. When I put on the 14mm lens, the sensor plane was a mere 23cm (9 inches) from it. The dartboard in the background looks fairly massive when shot with a 135mm lens, making the resulting image look very two-dimensional—as if the plushie is located immediately in front of the board. Meanwhile, in the 14mm wide angle lens image, you can’t even see the dartboard—it is completely covered by the plushie (which looks slightly distorted itself). The background in general, however, looks further away and adds a feeling of more space to the scene. The same series of images but this time without moving in of the camera To further clarify the impact of focal length, the camera doesn’t move as the lenses are changed in the above examples. The effect that lens choice has on depth of field is clearly visible—while the background blurs away on the 135mm, the texture of the wall and the dartboard are almost in focus on the 35mm image. A Point to Note All of the images above were created using Samyang Cine DS glass. While that is not a bad thing, it certainly isn’t the benchmark either. You can quite clearly see the vignetting on the 14mm. Different lens manufacturers have different approaches and ideas on how to make decent lenses. They are shipped at different price points, produce different quality images, and often bring their own unique look to resulting footage. I guess that what I am trying to say is that there’s a fourth point to add to this article: look. In the end, though, every choice made in filmmaking comes down to budget, taste, or a combination of the two. Focal Length Conclusion So, there you have it! There is a very good reason for the existence of the many focal lengths out there; use them wisely. Throwing on a 35mm lens and moving the camera closer to your subject is not the same as using your 85mm lens, which is unfortunate if you’ve left your 85mm at home! There should always be a logical reason behind your lens choice for each particular shot. By being aware of the effects that your lens will have on the resulting imagery, you can set yourself up for success with the knowledge of which focal length will compliment your creative work at any given moment.Read more
by Kevin Alexander | 1st October 2015
Celere is a new lens company based in Germany that specializes in high quality affordable PL lenses with unified weight and size. Today they are launching their first set of primes, the Celere HS 25mm T/1.5 & Celere HS 36mm T/1.5. In development for 3 years, here come the first two lenses made by Celere and 2 more will follow later this year. What is extraordinary about the Celere Cinema Primes is that they all have the same weight and size. According to Celere inventor and filmmaker Steven Kisilevich (left), they are the first of their kind in the world. If you are involved in professional productions you will be aware that every minute on set is worth a lot. Swapping out a lens on a Steadicam or a brushless gimbal like the Freefly Movi can mean rebalancing and costs time. The Celere Primes were made to speed up the production process. The Celere HS (High Speed) is currently a 4 lens kit (25mm, 36mm, 50mm & 85mm) costing about $3,000 per lens until the end of 2015. After that prices will go up slightly. Today they launched their website where they are presenting a few videos showing off the performance and look of the 25mm & 26mm Primes: After a phone conversation with inventor Steven Kisilevich it became clear to us that these lenses are intended to be used by professionals. Kisilevich said that the lenses are specifically designed for PL-mount and there will be no EF-mount version. While they are affordable PL lenses they were developed with high-end productions in mind to reach the standards Zeiss or Cooke are known for. In terms of the coating Kisilevich said: “The Celere lenses are shipping with what we call a neutral look, which can be interpreted to having achieved as close to a Leica look as we could get.” The lenses feature durable metal housings and they are made for resolutions up to 6K intended for use with the super 35 format, but will also cover Full Frame sensors without vignetting. Each HS lens has a maximum aperture of T/1.5. The Celere HS 25mm and 36mm are both ready to ship right now. In the coming months the rest of the lenses will be made available. The 85mm will be available in November 2015, and the 50mm will follow in December or January. They plan to sell the first 50 sets in 2015 and these will cost around $3,000 per lens. What’s next beyond these first 4 lenses? They are currently developing an 18mm prototype, intended to be ready by April 2016. Beyond that, they also plan to release a set of standard speed lenses (possibly T2.0 or T2.1) ranging from 16mm up to 135mm and finish all these within the year 2016 (16mm, 18mm, 21mm, 24mm, 27mm, 29mm, 32mm, 35mm, 50mm, 85mm, 135mm). Hanse-Inno-Tech | Celere – Lens 36mm | T/1.5 PL – Test at MBF-HamburgPhoto: Morris Mac Matzen It is nice to see the kind of enthusiasm coming from a manufacturer. There has certainly gone a lot of craftsmanship and thinking into development of these lenses and it really looks like these are high end affordable PL lenses like we haven’t seen them before. We’re curious to follow the release of the next lenses they will release over the next months and see how they perform in the hands of other DPs. The Celere HS Prime lenses are available through the Celere website for EU customers and at Hot Rod Cameras in the US. For more information check out celerelenses.comRead more
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