The new Gecko Genesis series of cinema primes from Gecko-Cam are aimed for those looking to give their images a more vintage look. Germany-based film equipment and service company Gecko-Cam have put their previous expertise in projectors, lens service and repair into designing their own line of cinema primes. The Gecko Genesis is a line of seven primes in 14.5mm, 20mm, 25mm, 35mm, 50mm, 85mm and 135mm. This product range has been designed specifically for those who prefer a more vintage vibe to their image, rather than the ultra crisp look of some of the current offerings in the market. There are available in a coated, as well as an uncoated version for some extra vintage mojo. Michael from Gecko-Cam explains that in terms of image, the Gecko Genesis are reminiscent of the Canon K35, while in terms of price, they are aiming to carve themselves a place in the market in the neighbourhood of the ZEISS CP.3s. Most of the lenses in the Genesis range offer a maximum aperture of T1.4, with the 14.5mm lens in the range creeping up to T3. All lenses share a frontal diameter of 114mm, and they all range between 1-1.5kg, so a relatively nice weight for cinema glass. The Gecko Genesis lenses will be available in PL, E, EF and Micro Four-Thirds, although they are easily upgradeable in case you need to change mounts yourself. The lenses are also customisable in that you can replace the ring with imperial and metric markings, and the lens body also features a mounting port for an upcoming Gecko-Cam wireless motor system that will install right onto the lens. With a 46.3mm image circle, the lenses will cover up to Vista Vision format, so the 8K RED is covered as well as of course 35mm full-frame, meaning they’re compatible with Sony’s latest full-frame CineAlta announcement. The first batch of ten sets will be available by the end of the month, with more units becoming available in August. The price for a full set will be around the €35,000 mark. For more information, please visit Gecko-cam.com. Are you more partial to the vintage look, or do you prefer a more crisp and modern flavour? Let us know in the comments below!

In this episode of On The Go we talk to eminent lens connoisseur Matthew Duclos from Duclos Lenses, and his Chief Engineer Alex Nelson. The last year or so has seen the emergence of a variety of affordable cine optics – at least relatively affordable in terms of what is usually the norm for these kinds of lenses. Be it primes or zooms, there are now a wide range of options available for only a few thousand dollars –  a kind of supply that was unthinkable just a few years ago. But what caused this kind of shift in the market? Matthew Duclos, Chief Operating Officer of one of the most renowned lens service and rehousing companies in Hollywood, tells us his thoughts. We also talk about the latest announcement by ZEISS, the new CP.3 range of prime lenses, their unique implementation of metadata workflow, and their mechanical design that draws from some of ZEISS’s most desirable lenses. Get ready to geek out with some lens talk in a convertible, on cinema5D ON THE GO! Please visit our sponsors’ websites to keep new episodes of ON THE GO coming! TILTA Blackmagic Design FUJINON G-Technology Watch previous episodes of ON THE GO (& On the Couch) by clicking here. Visit our Vimeo and YouTube playlists, and subscribe to the podcast on iTunes!

This new firmware update for Sigma lenses introduces some performance improvements that are particularly useful for video shooting. The update, which Sigma released last week, targets a selection of their EF mount lenses, namely the Sigma 17-70mm F2.8-4 DC MACRO OS HSM Contemporary, Sigma 18-200mm F3.5-6.3 DC MACRO OS HSM Contemporary, Sigma 18-300mm F3.5-6.3 DC MACRO OS HSM Contemporary and the Sigma 24-105mm F4 DG OS HSM Art. This firmware update for Sigma lenses — which you can carry out via the Sigma USB Dock — improves auto-focus performance when shooting video or on Live View mode on Canon DSLRs. In addition, the update reduces the noise of the diaphragm blades when adjusting the aperture, resulting in less obtrusive audio when recording with an on-camera mic. It also makes the lenses fully-functional with the Canon C300 Mark II. The performance improvements are not limited to native use in Canon cameras, but extend to adapted use in Sony E-mount cameras when using the Sigma MC-11 EF-E Mount Converter. The Sigma MC-11 Mount Converter Please note that firmware on both the Sigma USB Dock and the Sigma MC-11 EF-E Mount Converter also need to be updated before updating the lenses themselves. In addition, another recent firmware update for the E-mount Sigma 30mm F1.4 DC DN Contemporary enhances performance when used with the Sony a6300. Specifically, it improves peripheral performance, namely brightness correction at f/1.7 and autofocus. The Sigma Global Vision lenses have been very well-received among video shooters, particularly the APS-C Sigma 18-35mm f/1.8 Art and Sigma 50-100mm f/1.8 Art whose optical design, along with that of other primes in the Art line and the full-frame Sigma 24-35mm f/2, recently graduated to the new range of Cine lenses from Sigma. For more information regarding the firmware update and details regarding each lens, follow THIS LINK to Sigma’s website. Do you use Sigma lenses with your EF or E-mount camera? Will this update enhance your setup? Let us know in the comments!

A few days ago, German optics manufacturer Schneider announced a new range of full-frame cine prime tilt lenses. This dynamic functionality allows for extended focusing possibilities and tweaking of the depth of field in your shots. Introduced on January 27th, these new Xenon primes from Schneider are the world’s first full-frame Cine Primes tilt lenses. In terms of design, they are basically regular Schneider Xenon full frame primes, just with the added tilt function. If tilt is left at 0°, there is no loss of image quality or sharpness compared to standard Xenon primes. Cine prime tilt test shot – Schneider optics You can tilt the lens element by ±4° while maintaining the field of view. It will be possible to achieve shots with unique focus and depth of field, such as the one you can see above. The tilt is controlled via a standard ring with 120° of rotation that’s operated just like the focus ring. Due to the use of common 0.8 module gear pitch, the Cine prime tilt lenses are compatible with standard follow-focus systems. These focal lengths that will be available from launch are: 25mm T2.1 35mm T2.1 50mm T2.1 75mm T2.1 100mm T2.1 The Cine prime tilt lenses will be available this spring either individually or as a set, and for now only in Sony E-Mount. Will you be tilting and shifting come this spring? Let us know in the comments below!

ARRI has announced two new lines of Cinema Primes designed for the 65mm Digital format. The Prime 65 S and Prime DNA bring 15 new lenses to the ALEXA 65 system, billed “faster, smoother in personality and built for your vision”. The ALEXA 65 has been working its way into a credible list of major motion cinema productions – Transformers: The Last Knight, Star Wars Rogue One and selections of The Revenant and Captain America: Civil War. ARRI Rental (as you cannot purchase) currently offers a set of 8 primes for the complete workflow (aptly named Prime 65), but has now just announced two new lines for the 65mm digital format. ARRI Prime 65 S Building on the clinical Prime 65 line, the Prime 65 S opens things up with 7 new lenses of T2.8 or faster, adding a “smoother personality” through less contrast and a softer look. The Prime 65 S range from 35 to 150mm, utilize ARRI Lens Data System (LDS) for lens metadata and naturally offer full ALEXA 65 coverage. ARRI Prime DNA  The second announcement to come from ARRI Rental is perhaps the most interesting. The Prime DNA lens line again builds on the existing Prime 65 platform, offering full ALEXA 65 coverage and apertures of T2.8 or faster. An eighth member is added to the line up, with slightly different integers of focal lengths ranging from 35mm to 200mm. ARRI look for inspiration from their customers to the final look of each Prime DNA set – “An ever-evolving collection, customized by ARRI Rental and guided by cinematographer input. Unusual image attributes and full of character” What a conversation to have: “Just how would you like your 65mm lenses, sir?” I especially like the sound of the 80mm T1.9 ARRI Rental already has their Prime DNA lenses on 2017 features Breathe and Mary Magdalene. Also, if you’re in Poland for Camerimage, you’ll have the opportunity to check out the new lenses there.

The Sigma 85mm f/1.4 Art Series lens announced at Photokina last week is another step in the expansion of Sigma’s Global Vision lens line. This much anticipated model is Sigma’s longest Art prime lens. With IBC and Photokina so close together, we have been bombarded by new releases from various manufactures thick and fast. Sigma has been right in the middle of it, initially announcing a new venture into cinema lenses with their High Speed Cinema Zoom and Prime lines. An exciting announcement by all accounts, but keen readers will have noted the inclusion of an 85mm T1.5, a focal length we were yet to see in the ancestry Art stills line. It was therefore surely only a matter of time before Sigma announced the much anticipated 85mm Art lens, and Photokina 2016 was when they dropped the news. The same way that Zeiss hold their 85mm Milvus in high regard, the Sigma 85mm pokes its head above the rest of the Art line in size, price and most likely weight. Sigma claim that this all-new construction embodies the perfect portrait lens. New and fast HSM (hypersonic motor), dust & splash proof and electromagnetic aperture control for the Nikon version are some of the features of the Sigma 85mm Art prime. Speaking of mounts, the Sigma 85mm Art f/1.4 comes in both Canon and Nikon F mount, with Sony E mount support via their MC-11 adapter. It’s also compatible with their USB Dock for firmware updates and Autofocus adjustments. The Sigma 85mm Art f/1.4 – Full Specs: Focal Length: 85mm Aperture Max/Min: f/1.4 – f/16 Camera Mount: Canon EF, Nikon F, Sony E via Adaptor Format Compatibility: Full Frame, APS-C / Super 35mm Angle of View: 28.6° Minimum Focus Distance: 33.46″ (85 cm) Magnification: 0.12x Maximum Reproduction Ratio: 1:8.5 Elements/Groups: 14/12 Diaphragm Blades: 9, Rounded Image Stabilization: No Autofocus: Yes Filter Thread Front: 86 mm Dimensions: (DxL) 3.73 x 4.97″ (94.7 x 126.2 mm) Weight: TBC Sigma has indeed been busy with new releases, expanding the Art line, announcing a new ultra wide-angle full frame 12-24mm f/4 zoom, new cine lenses and  expanding the Sports division of the Global Vision Line with the Sigma 500mm f/4. Now, where’s that 100mm Macro/135mm Art….  

This week has started with a bang in terms of new announcements regarding optics. Two new impressive sounding prime lenses have been announced with very interesting specs: the Samyang 35mm f1.2, and the Venus Optics Laowa 12mm f/2.8. These have certainly been busy times for Samyang, with a new XEEN as well as the introduction of the first autofocus lenses to their catalogue (which you can read about here and here). Well, they just keep on going, as they have just announced their new 35mm f/1.2 prime. Although it is a faster lens than their previous 35mm f/1.4, this new f/1.2 is designed for APS-C sized sensors, meaning it will vignette heavily if you use it on a full-frame camera or want to use it with a Speedbooster. The lens has been designed with mirrorless cameras in mind, with available mounts consisting of Sony E mount, Micro Four Thirds, Fujifilm X and Canon M. In good Samyang tradition, the lens will be available in 2 configurations: either as a fully manual photo lens, or as a cine lens (meaning probably a declicked aperture and gears for a follow focus). And, also following the Samyang/Rokinon/Walimex tradition, this lens will be quite affordable, with an RRP of 449 and 499 Euros for the photo and cine versions respectively. Below you can find the Samyang 35mm f/1.2 spec sheet: Another quite interesting announcement that took place this week is Venus Optics’ new Laowa 12mm f/2.8. This lens ticks quite a few boxes that certainly make it one to look out for, not the least of which is its size. It’s tiny! With a 12mm full-frame(!) coverage, this lens is very wide indeed. The manufacturer claims that the lens boasts close-to-zero optical distortion, maintaining rectilinear characteristics rather than being a fisheye lens. I’m personally a big fan of the the full frame ultra wide angle aesthetic. This 12mm lens will allow you to capture images like the one below: Ultra wide angle lenses like these tend to be slower. However, it looks like the Laowa 12mm will be also usable in low light, and a maximum aperture of f/2.8 means the Laowa can lay claim to being the world’s fastest 12mm lens for full frame for now. With mounts available for Canon EF, Sony E and Alpha, Nikon F and Pentax K, this gives you the possibility of using a Speedbooster on a crop sensor camera for even faster wide angle shots. One would maybe expect a lens with such extreme qualities to be incredibly expensive, but the Laowa 12mm may surprise you. Although its Kickstarter campaign had some sweet deals (like the opportunity to get the lens for $1), you may still find there are a few lenses available for preorder at a discount from the $949 retail price. Below is the spec sheet for the Laowa 12mm f/2.8: Venus Optics also announced two useful accessories for their new prime lens. A common trade-off of ultra wide angle lenses is the lack of a frontal filter thread, which the manufacturer has solved with their filter holder for 2x 100mm filters and 1x circular polariser. Venus Optics has also announced a Shift Converter that expands the image circle by 10mm at the expense of some light. The result? A 17mm f/4 lens with a +/- 10mm shift capability with no vignetting. These will go for $50 and $300 respectively. Click here for more info on these products, and make sure to check out people’s first impressions of this lens here and here. Do any of these primes tickle your fancy? Let us know in the comments below!

SLR Magic has announced a new, incredibly cheap and fast 50mm prime. The SLR Magic f/1.1 50mm FE lens is rivalled only by one other as the fastest full frame Sony E Mount lens on the market, all for a price of under $350. The SLR Magic Cine 50mm f/1.1 is an FE mount lens meaning it is suitable for full frame Sony E mount cameras like the Sony a7R II & a7S II as well as Super35mm sensor cameras such as the Sony FS7 or FS5. Billed as a Cine lens we get geared aperture & focus rings as well as a de-clicked iris, the aperture diaphragm is made up of 13-blades also (more than the average stills lens). The rest resembles a typical older 35mm prime; the lens is still very compact in size with a 52mm filter thread and distance markings only on the top. The SLR Magic Cine 50mm f/1.1 is built up of 6 elements in 5 groups and has a black anodized construction. Most sub f/1.2 lenses are designed for less sensitive smaller sensors such as the Micro Four Thirds format, the SLR Magic Cine 50mm f/1.1 FE enters the super fast lens bracket, next to it’s much more expensive bigger brother the SLR Magic HyperPrime Cine 50mm T0.95. I’m very excited to see how this lens performs, a compact vintage-esque form factor is one Zeiss has taken up with their Loxia E mount lens line. The difference here is a price of just $349, making it a very attractive package indeed. The tiny form factor will sit well with Sony mirrorless cameras like the a7R II and a7S II. Speaking of size, here’s the official stats: Dimensions Length to bayonet mount: approx. 54.8mm (approx. 2.16in) Largest diameter: approx. 63.00mm (approx. 2.48in) Weight Approx. 400g (approx. 14.11oz) Release date is scheduled for the end of this year, the lens will also be available to view at the upcoming InterBEE 2015 fair in Tokyo that starts today. We’re there reporting live so stay tuned over the next couple of days.