In this Canon 18-80mm review I’ll be finally taking a look at Canon’s compact servo video lens. It is one of only a few such lenses made for large-sensor cameras, has a “cine” touch with autofocus functionality and could be a very useful asset for many large-sensor shooters. Canon 18-80mm Review – A Compact Servo With a “Cine” Touch Back when the Canon CN-E 18-80mm T4.4 Compact-Servo Lens was announced in 2016, many large-sensor video shooters had their eye on it as it seemed to combine the lightweight design of photo lenses with some “cine” properties and offered a zoom rocker, all at a relatively affordable price. Later we noticed that this lens, marketed as a “cinema zoom lens”, had no hard stops, making it quite hard to use as an actual “cinema lens”. But regardless of the “cine” labelling, this lens still looks pretty interesting for many large-sensor shooters, so I took it for a test drive to the park (see video with test shots above) and put it on the test bench. Canon 18-80mm – Most Important Features at a Glance: 18-80mm zoom range (4.4x ratio) Constant aperture of T4.4, equivalent to F/4.0 Minimum focus distance: 1.6′ / 0.5 m Optical Image Stabilization Manual smooth iris Auto Focus / Manual Focus (no hard stops) Powered through lens mount or connector (works with Sony Cameras) Compatibility with FS7/FS5. The 18-80mm Canon lens + metabones adapter works with the FS7 zoom rocker and also supports iris control. Filter: 77 mm thread for screw-in front filters (I used a Vari ND filter for my test) Weight: 2.6 lb / 1.2 kg Length: 7.2” / 182.3 mm Servo handgrip: included and easily detachable Back focus adjustment Super 35mm sensor coverage My Canon 18-80mm Review was shot with a Sony a6300 Camera Hands-On Experience with the Canon 18-80mm Compact cine lenses are awesome. In my book, the Canon 18-80mm already has a plus, just because it is so small, lightweight and thin! In terms of size, it is comparable to the FUJINON MK Cine Lenses. I recently reviewed both the FUJINON MK 18-55mm and the MK 50-135mm. By now I think I have tested all compact and “affordable” cine/video lenses on the market, and this field is still very young. Manufacturers are only now slowly starting to realize that photo lenses simply don’t cut it for most large-sensor shooters, and that we need video equivalents with a large-sensor coverage. In the case of the Canon 18-80mm, it works with Super 35mm and APS-C sensors, and I used it on my small but capable Sony a6300 to put it to the test. Unfortunately I didn’t have much time, so this test shoot was not as elaborate as some of my previous ones. I had, however, worked with the lens on a different project before, so I already had a pretty good idea of how well it performs. The focal range of 18-80mm is the first thing you should bear in mind when considering this piece of kit. Sony offers a 18-110mm lens that arguably has the best range in this field. However, one should keep in mind that the change in field of view is exponential, so the gap between 81 and 110mm on the Canon lens is not as large as it appears. During my shoot, for example, I noticed that I was able to zoom in more than I expected. In practice, the 18-80mm range is limiting, but does offer an extra tele “touch” when compared to a lens like the FUJINON MK 18-55mm for example, and is definitely very convenient to use this lens as a wide-angle and mid-range zoom. The Servo For me, the servo is the biggest thing about this lens and it is a delight to use. Not only does it allow you to get a nice grip on your lens (and in my case also the camera, seeing as the Sony a6300 I used is so small), but it also has a smooth motor that lets you control your focal length much more precisely and quickly than with any other lens at this size and price. In comparison to the Sony 18-110mm Cine Lens (Review Here), Canon’s servo feature is in a different class entirely. The Sony only has a miniature zoom rocker and offers less precision. In terms of speed, the servo of the Canon CN-E 18-80mm T4.4 gives you a large amount of control. You can quickly zoom in, get your focus and zoom out, as it holds focus at any focal length just like cine and video lenses should. In terms of smoothness, I must say I did expect a little more. I felt the servo of the Canon 18-80mm had fewer steps of speed than professional and more pricey video zooms. During the last test shot in my video, I zoomed in and out on that tree and as you can see it was a bit hard to get a completely smooth zoom. I would not use this lens in a broadcast environment where smooth zooms are sometimes crucial. Servo Cable of the Canon 18-80mm T4.4 obstructing and being stressed when the camera is on a flat surface. Another thing that bugged me about the servo is the cable that connects to the lens. It sticks out and points down right into my wrist. After only a few hours of shooting with the lens I already had a bruise. Another downside of this design is that the connector is the main point of contact when I put the lens down on a flat surface. This is especially true when the lens is used with a small camera like the Sony a6300. Zacuto sells a solution to this problem –  the Zacuto Right Angle Extension Cable – but in my opinion they ask for a ridiculous amount of money for it. If the cable is a problem for you, another solution would be to simply have a right angle connector soldered onto the lens. If you don’t need the grip, note that it can easily be detached. Unfortunately, a tool is necessary to move or even reposition the grip. Cable that connects the servo with the lens, sticks out into the wrist. Another positive thing to say about the servo is that it works with Metabones adapters on Sony cameras and gets power through the lens mount. All in all, I really like the servo on the Canon 18-80mm T4.4 and the convenience of it alone is a reason to get the lens, even though it might not be up to broadcast standards. Autofocus & Cine Lens Gears The Canon 18-80mm T4.4 has a gear ring for focusing with a follow focus or remote focus, but lacks hard stops just like with traditional Canon photo lenses. Video shooters and cinematographers alike will have a more difficult time controlling focus, especially when using focusing tools. One could argue that the lens is not intended for cinema applications – frankly I find the lens is a great option for single shooters, a setup which rarely requires a follow focus. However, marketing the lens as “cine” can be misleading for customers and I am not a fan of that. According to Canon, they had to incorporate soft stops on the lens in order to achieve the much-applauded Dual Autofocus functionality. I must mention that the Canon Dual Autofocus system has impressed us and really makes autofocusing an option in the world of large sensor shooting. For many, myself included, the tradeoff with the hard stops is acceptable as long as we are aware of the lens’ limitations. Optical Quality For my Canon 18-80mm review I grabbed our test chart and took some shots that I compared to the Sony 18-110mm F/4 lens. I noticed that the Canon seemed to have good optical qualities altogether, both in these test shots as well as in my short video. I noticed very little chromatic aberration and, as far as I could tell, the lens had a little less sharpness in the corners compared to the Sony 18-110 (without digital optimization), but it was still ok in my book. There is one aspect in which, in my opinion, the Canon falls short in comparison to the Sony 18-110: the Sony offers in-camera optimization which basically entirely removes the optical flaws of the lens. This is a killer feature. On the other hand, the Sony lens cannot be used on Canon cameras. Canon 18-80mm Review – 200% crop from a 4K image. Upper right-hand corner. Canon 18-80mm Review – Distortion and Vignetting at F/4.0 Distortion appeared stronger on the Canon than on the Sony, although I had disabled Sony’s digital optimization feature for my test shots. The Canon also seemed to exhibit more vignetting. I would say the distortion on the wide end is comparable to the FUJINON MK 18-55mm, although the problem of the FUJINON is that it distorts strongly in the opposite direction as soon as you start zooming in. This is not as pronounced on the Canon 18-80mm T4.4 (see screenshot below). Canon 18-80mm Review – Lens @ 35mm F/4.0 (ISO 1600) The optical verdict of my Canon 18-80mm review is that this is a good lens for 4K applications. I did not notice any major flaws and, on top of that, I did not notice any breathing. See my test video where I took some shots to emphasize that. Another great thing about the Canon is its minimum focus distance. Although there is no macro, a distance of  1.6′ / 0.5 m at 80mm allows you to get some decent close-up shots. I was surprised at how close I could get to the bees in my test video. The Sony 18-110mm F/4.0 lens is less convincing in this regard with its 0.95m minimum focus distance (Review Here). Optical Stabilization This is a good lens that I want to like, but the optical image stabilization of the Canon 18-80mm T4.4 doesn’t do it for me. It looks just like the stabilization you get on some Canon photo lenses, where the movement does not appear natural. I think this becomes apparent in my test video in the wide shot at 0:40, which I shot entirely handheld. The biggest problem for me is that the rotation axis is not stabilized well – if at all! – thus resulting in distracting mini rotations in almost every shot. For a lens that costs over $5,000, this is a bit upsetting. There are three optical stabilization settings (A, B and C). It seemed like mode B and C are simply weaker. I used mode “A” for my test video, but if I use this lens on future projects I will be leave image stabilization off. Canon 18-80mm Review – Conclusion The Canon CN-E 18-80mm T4.4 Compact-Servo Cinema Zoom Lens is a very interesting lens. The idea of combining cine properties with the strengths of photo lenses to give you a lightweight and compact solution with a full servo grip is a great approach. Also, right now it is the only “cine” zoom of this type and price for Canon cameras. When I started my Canon 18-80mm Review I think my expectations were a little too high. In my opinion, this lens has little “cine” about it (especially due to the lack of hard stops), so I will simply call it a lens with a”cine touch”. It is clearly a video lens that has inherited a few features from broadcast zooms thanks to its full servo grip. BUT, the grip is a delight to use. I wish I had something like that on all the lenses I use, and it is definitely the one reason to get the lens as it adds so much more convenience and improves ergonomics a lot. If you have no other grip solution, or if you want to revive your DSLR or mirrorless camera, look at the Canon 18-80mm T4.4. Even though the motor smoothness seems a little basic, I think the advantage of precise zoom rocker control can make a huge difference on documentary style productions. Putting aside that the optical image stabilization is not the kind I would use on my projects, overall the lens offers a good balance between performance and size. If you’re struggling with photo lenses, you should definitely try the Canon 18-80mm T4.4 and experience the difference it makes. The price of over $5,000 may not make it a very attractive proposition for everyone but, if you can afford it, the Canon CN-E 18-80mm T4.4 Compact-Servo is definitely worth considering and we welcome it to the very small family of compact video lenses for large sensor cameras.

At this year’s NAB, we had a little chat with FUJIFILM’s general manager Toshihisa (Toshi) Lida about their current product range, and especially about their plans regarding video-related cameras. Let’s see what they have in store for us filmmakers. State of Play FUJIFILM clearly wants to take aim at the cinema market. With the introduction of their FUJINON MK18-55mm T2.9 manual zoom lens (you can read our review of that lens here) they followed the concept of developing a product as compact and lightweight as possible. This meant making a few compromises. Firstly, they choose to limit the mount options to X-mount end E-mount only, as they require a very small flange distance. The chances of an EF mount version becoming available in the near future therefore seem to be very small, but who knows? FUJIFILM also seem to be very aware of their customers’ needs and wishes. The FUJINON MK18-55mm T2.9 X-mount manual zoom lens at NAB 2017 Delivering a compact product at an affordable price also means that the lens is currently a fully-manual device without any electronic connections. For now, this means no data flow between lens and camera, although FUJINFILM intends to implement an electronic interface for this purpose in the future it will be reserved for the X-mount version only. This makes the FUJINON MK18-55mm T2.9 and MK 50-135mm T-2.9 an entry product with a lot of potential for future versions. The (Video) Future of FUJIFILM The company has been quite busy for the last 6 years developing a variety of cameras such as the FUJIFILM X-T2 (read our review here), XT-20 (read our review here), or the X-Pro2 (review here). Though all three can shoot video, they are clearly aimed at the stills photography market. However, one thing is clear: FUJIFILM is capable of building very decent lenses. They have a massive lineup of X-mount lenses but, as mentioned above, they keep exploring new fields with products like the freshly-introduced FUJINON MK18-55mm T2.9 manual zoom. A new FUJINON MK50-135mm T2.9 is also in the works and be ready to ship soon. As Toshi Lida puts it: The customers love our glass, the lenses.” That claim is mostly related to their lineup of still lenses. But with such an expertise in making quality glass, there’s a lot of potential for upcoming (indie) cinema lenses, as well! More Video Features The FUJIFILM GFX 50s is the latest and greatest (and actually biggest) FUJIFILM mirrorless camera, featuring a massive 51.4MP medium format sensor. What’s interesting about it is that, despite being a stills camera, the GFX features Full HD video recording and, even more astonishing, an audio input jack. Why would you need an audio jack in such a stills camera who’s video capabilities is not a priority ? And if this beast is supposed to be a video camera after all, then can it do in the future better then Full HD? FUJIFILM GFX 50s. Maybe the fine folks at FUJIFILM have yet to make up their mind about developing a proper video camera with all the features you could ask for, but I think that little audio jack might be an indication of the path FUJIFILM is willing to explore regarding the video side of things. Actually, they already have everything that’s needed, they just have to put these things together. Maybe the solution is a more diverse lineup with more options, following the model established by Sony, who are leading the way with their line of a7 cameras: an entry-level model, an R model for stills photographers, and an S model for video shooters. Conclusion Granted: since FUJIFILM has made no concrete promises yet, the future of their video-related products is speculative at best, though there does seem to be a silver lining. Toshi Lida seems very positive about their future as far as video-capable cameras and lenses are concerned. Hopefully we’ll see some killer products at some point soon that will compete with established products like the Sony a7 / a9 line. What are your thoughts about the current line up of cameras and lenses by FUJIFILM? Share your ideas in the comments below!

Almost exactly one year after the introduction of the Canon CN-E 18-80mm zoom lens, the Japanese manufacturer has done it again. Meet the Canon CN-E 70-200mm cine zoom lens which completes the CN-E range for now. Canon CN-E 70-200mm T4.4 There was a lot of buzz around the introduction of the CN-E 18-80mm zoom last year, which didn’t come without its share of controversy. The lack of hard stops, for example, has been discussed passionately – read the according articles here and here or head over to this article for Canon’s statement on that matter. In short, the implementation of advanced autofocus capabilities made it necessary to switch over to a soft-stop design. The question is what’s of more use in the field: actual hard stops for accurate muscle-memory-style focussing, or good autofocus. I believe the answer depends on the job and your personal style of shooting. The original Canon CN-E 18-80mm cine zoom lens. Now, a year later, Canon has introduced the bigger brother of the original 18-80mm zoom. The CN-E 70-200mm has got the same T4.4 rating, covers the same s35mm image circle and sports a native optical zoom of 2.8x, though you can use the existing EF 1.4x and 2.0x extenders. All in all, you could theoretically cover a zoom range from 18-400mm with a set of both zooms and an EF 2.0x extender. The extender will eat up 2 stops of light, though. According to Canon, the CN-E 70-200mm cine zoom is color-matched to other cinema EOS glass, and resolves up to 4K resolution. The lens features three modes of image stabilization, as well as the well-known autofocus capabilities from the CN-E 18-80mm: Powerful Dual Pixel CMOS AF enables a quick and accurate focus via a single button push (one-shot AF), while continuous AF allows for a subject to be tracked with no loss of focus, ideal for capturing wildlife footage. Note that you will need to use a Canon camera that supports Dual Pixel CMOS AF in order to benefit from that feature. The lens also provides metadata through its active EF mount. There is no information in the press release as to whether this lens features hard stops, but since it features the same autofocus system as the 18-80mm lens, I think it’s almost certain that this lens will have soft stops, too. And while on this subject, Canon do mention the word “Parfocal” and “Even when the zoom is changed, the optics stay perfectly in focus” on their official press release, so let’s wait and see.  Accessories The specifications are nearly the same as the 18-80mm lens. You still can attach the Canon ZSG-C10 Control Grip in order to shoot ENG style. It’s powered via the EF mount if supported, and connects to the lens via a a 20-pin cable, which also allows you to remote control the lens if you detach the grip. The grip also features a Start/Stop switch, zoom rocker and one-touch AF button. The Canon ZSG-C10 zoom grip attached to the 70-200mm zoom. Of course, you can adjust zoom and focus manually too, but as mentioned above: beware of the soft stops! Pricing and Availability There still isn’t any word on pricing. Since the CN-E 18-80mm has a price tag just above $5,000, the new CN-E 70-200mm might be in the same ballpark. The lens is expected to be available from Aug 2nd, 2017. Are you using the original 18-80mm zoom already? Might this be a great and affordable addition to it? Let us know in the comments below!

Yesterday we saw the announcement of the Sony 18-110mm F/4 lens for super 35 cameras here at IBC 2016. Here is a hands-on video checking out the new features. For FS5 and FS7 shooters, the wider focal length of 18mm will be a pleasing addition when compared top the slightly longer 28mm (equivalent to 27-165mm in full frame). The Sony 18-110mm has a constant aperture of F/4, and, weighing only 1105 grams, it keeps camera setups compact and light. Sony 18-110mm features and specs at a glance: 18-110mm focal length (27-167mm full frame equivalent). Constant F/4 aperture. Smooth Motion Optics minimizes breathing, axial shift and focus shifting. Reversable zoom control (change the zoom ring direction from clockwise to anti clockwise). New removable lens tripod mount. New removable lens cover and lens cap included. The new lens will be around €3,999  ($4,500 from B&H) and will be available from December 2016. For the full article please click here.

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.

Busy times at Canon! The end of last week saw the announcement of the new Canon 5D Mark IV and today, we welcome the new Canon XC15 as well as the EOS C700. While the XC10 was a brand-new product category for Canon (a very compact and lightweight 1-inch sensor UHD-capable video camera that can also shoot stills, with a built-in fixed zoom lens), the Canon XC15 has carried over almost the exact same specifications as its predecessor, yet differs in one important aspect: audio connectivity. While reviewing the Canon XC10 over a year ago, one of my concerns was the camera’s “audio department”. Here is what I had to say: “Canon is marketing this camcorder as professional. A better professional XLR audio solution from Canon is missing for that, though”. Today, I’m happy to report that Canon listened and updated the audio capabilities of the new camera by adding an XLR input (when using the MA-400 mic adapter which was originally designed for the C300 Mk II). Having a robust codec in such a small camera and improved audio connectivity are certainly welcome features, but all in all, for a camera that is aimed at the occasional news and documentary shooters, it is yet to be seen if the current update is satisfying. Personally, I would have loved to have seen a constant aperture lens, a dedicated EVF and better quality 120fps implemented in this revision. Below you can find the updated specification list of the new camera: (over the XC10) The movie looks from the C300 Mk II have been incorporated, and this will allow for consistency with the C300 Mk II New 24p mode for both 4K and 1080p (in addition to 23.98p) and at up to 305 Mbps in 4K. Waveform Monitor display. Added flicker reduction Highlight Priority, a new gamma mode that provides similar effects to HDR. A new touch panel with an operation lock. Shutter speed display can be switched to a shutter angle display The camera is currently available for pre ordering at B&H by clicking here and for our European audience by clicking here

Canon introduce their first servo powered Cine Zoom Lens at NAB 2016. Larry Thorpe tells us all about the new Canon CN-E 18-80mm T4.4 COMPACT-SERVO. Canon CN-E 18-80mm T4.4 COMPACT-SERVO Just as a quick reminder, the freshly announced Canon zoom 18-80mm lens features things like S35 (and APS-C) coverage, a constant T4.4 (f/4) aperture and a very competitive price tag of just over $5,000. Here are the hard facts again (read all about it in our recent article): 18-80 mm zoom range, 4.4x ratio Maximum aperture: T4.4, equivalent to f/4.0 No ramping of aperture throughout zoom range Close focus MOD: 0.5 m Optical image stabilization: On/Off and three levels of stabilization Iris: Auto/Manual Auto Focus / Manual Focus Power through lens mount or connector Filter thread: 77 mm threads for screw-in front filters Front outside diameter: 84 mm Weight: 2.6 lb / 1.2 kg Length: 7.2” / 182.3 mm Iris: 9 blades Servo handgrip: detachable with one screw Back focus adjustment under rear barrel Covers 31.4 mm image diagonal 20-pin connector for lens control and metadata: EIAJ RC5320A TYPE4 (5.5 mm diameter) Issues with the Canon Zoom 18-80mm T4.4 lens When we played with the lens, we noticed something quite odd. There were actually no hard stops on the focus ring, as you might expect from a traditional photo lens. Video shooters and cinematographers alike will have a more difficult time controlling focus, especially when using focusing tools like follow focus systems or wireless solutions. An odd decision from Canon since the lens is clearly positioned as a professional tool for (indie-) filmmakers, particularly at that price point—and one of the most annoying things when dealing with photo lenses for a video shoot is the lack of hard stops on the focus ring. The lack of hard stops probably justifies the very competitive price tag of the lens, but it feels like a slack tradeoff to me. What do you think about this issue? Dealbreaker or worth overlooking for the price tag? We will make sure to review of this new Canon Zoom Lens soon. Stay tuned for our updates.

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.