Today, SIGMA has officially added three new lenses to their already impressive lineup of full-frame primes and zooms: The A (as in ART) line of lenses now sports a new prime lens, the SIGMA 35mm F1.2 DG DN and a new zoom lens, the SIGMA 14-24mm F2.8 DG DN. Under their C (as in contemporary) line, SIGMA released the new 45mm F2.8 DG DN prime. UPDATE: There’s also a new line of cine primes under development, the so-called SIGMA Classic Art Primes will be officially announced at IBC 2019. Check out the last paragraph for more information! These three new lenses by SIGMA come in two flavors: Sony E-mount and L-mount for playing nicely with cameras of the freshly formed L-Mount Alliance (SIGMA, Panasonic and Leica). SIGMA 35mm F1.2 DG DN (ART) This lens is a top-end performer in terms of light sensitivity and that’s why it’s basically a huge piece of glass. As it seems, SIGMA has created a no-compromise lens here and in order to give you that fast F1.2 aperture in tandem with autofocus capabilities (!) plus high-end image quality the resulting lens is.. big. The lens comes with an aperture ring on the lens itself which can be set to automatic, or, more importantly for indie filmmakers, to manual mode. And to answer your question: Yes, the aperture ring can be de-clicked for smoothly adjusting the iris (11-blade rounded diaphragm) while filming. Same goes for the focus ring: In AF mode a large HSM (HyperSonicMotor) will quickly adjust focus for you while you can pull focus manually by switching to fly-by-wire mode. Within all these lenses names you’ll note DG (Digital) and DN (Digital Neo). DG is used by SIGMA to indicate that the lens is designed to perform best on cameras with full-frame sensors while DN branded lenses are optimized for mirrorless cameras (i.e. short flange focal lengths). Three SLD glass elements and three aspherical lenses including a double-sided aspherical lens are optimally arranged in a lens construction of 17 elements in 12 groups. By taking advantage of the specialized short flange focal length design, this 35mm lens not only is optimized for mirrorless cameras, it also takes advantage of the correction function inside the camera to correct distortion and peripheral illumination. In summary, the 35mm F1.2 can resolve over 50 million pixels. The AFL button on the lens itself which can be assigned with various functions is a nice addition to the feature set of the 35mm F1.2. Furthermore, the lens features a dust- and splash-proof structure, along with a water- and oil-repellent coating on the front element. It also comes with a locking hood. Swapping mounts between the Sony E-mount version and the L-mount version is possible but you have to send in you lens to an authorized SIGMA facility in order to do that. Specifications of the SIGMA 35mm F1.2 DG DN (ART) – calculated for L-mount: Lens Construction: 17 elements in 12 groups Angle of view (35mm): 63.4° Number of diaphragm blades: 11 (rounded diaphragm) Minimum aperture: F16 Minimum focusing distance: 30cm / 11.8″ Maximum magnification ratio: 1:5.1 Filter size: 82mm Dimensions (diameter × length): 87,8mm × 136,2mm / 3.5″ × 5.4″ Weight: 1,090g / 38.4oz SIGMA 14-24mm F2.8 DG DN (ART) This is the second lens of the newly developed DG DN series and it seems to be a beautiful lens for some starry nights astrophotography. Why? Well, because the super-wide 14-24mm range of this zoom is perfect for vast landscapes, the reasonable fast F2.8 aperture is a good match for the milky way above that vast landscape you’ve just framed up and the included rear filter holder will conveniently accommodate the filter needed for that perfect starry night shot. That’s why. This lens is also part of the A (ART) line and it also comes with the aforementioned DG and DN branding. One FLD glass and five SLD glass elements are arranged to suppress chromatic aberration and other nasty stuff. Three aspherical lenses, including a large-diameter aspherical lens at the front, are used to minimize coma flare. The multi-layer coating is combined with a newly developed NPC (Nano Porous Coating) in order for the lens to be less susceptible to strong incident light. Filter holder of the SIGMA 14-24 lens Just like the SIGMA 35mm F1.2, this new zoom lens offers an assignable AFL button on the side so you can customize this lens to match your workflow. Autofocus is handled by a stepper motor, which is also available for face/eye detection during video shooting, depending on your camera of choice. The housing also shares the same rugged design as the 35mm F1.2 ART lens. Specifications of the SIGMA 14-24mm F2.8 DG DN (ART) – calculated for L-mount: Lens Construction: 18 elements in 13 groups Angle of view (35mm): 114.2° – 84.1° Number of diaphragm blades: 11 (rounded diaphragm) Minimum aperture: F22 Minimum focusing distance: 28cm / 11.0″ Maximum magnification ratio: 1:7.3 Filter: rear filter holder Dimensions (diameter × length): 85mm × 131mm / 3.3″ × 5.2″ Weight: 795g / 28oz SIGMA 45mm F2.8 DG DN (Contemporary) To make this a threefold of new lenses, we need one more: The SIGMA 45mm F2.8 DG DN is not part of the ART family. It bears the C (Contemporary) logo on its side to indicate a versatile and performing, yet compact and lightweight lens. And just like the other two, it covers a full-frame sensor without any problems. Because this lens is intended for everyday use, it is a really lightweight piece of glass. It’s compact and won’t get into your way while shooting. It sports a dedicated iris ring (which can’t be de-clicked, though) and a stepper motor for handling AF operation. Minimum focus distance is just 24cm (9.4″) so this lens could become a very versatile lens, indeed! According to SIGMA the 45mm F2.8 renders smooth, classic looking, bokeh when used with a wide-open iris but it will produce tack sharp, more modern-looking imagery when stopped down a little. Again, versatility seems to be key with this lens. Specifications of the SIGMA 45mm F2.8 DG DN (Contemporary) – calculated for L-mount: Lens Construction: 8 elements in 7 groups Angle of view (35mm): 51.3° Number of diaphragm blades: 7 (rounded diaphragm) Minimum aperture: F22 Minimum focusing distance: 24cm / 9.4″ Maximum magnification ratio: 1:4 Filter size: 55mm Dimensions (diameter × length): 64mm × 46,2mm / 2.5″ × 1.8″ Weight: 215g / 7.5oz Silver version of the 45mm SIGMA Contemporary New SIGMA Classic Art Primes As a sneak peek, SIGMA also introduced a whole new line of cine primes today. The so-called Classic Art Primes come as an additional option along their already available Cinema Primes (see our extensive review here). This new line of primes bear the label Classic so you might guess where this is heading: SIGMA removed the coating of the front element in order to create a more silky/dreamy vintage look to these primes without compromising on performance. SIGMA 40mm Classic Art Prime on the new SIGMA pf camera. SIGMA will officially announce them at IBC later this year. It will be a whole set just like the existing Cinema Primes. And, as you already might have noticed, these new primes are a bit slower than the Cinema Primes. T1.5 becomes T2.5 (20mm – 85mm) and T2 becomes T3.2 (14mm & 135mm). If you think the SIGMA Cinema Primes are too sharp and produce a kind of clinical look, maybe this new set is worth a shot. We’ll keep a close eye on the further development, for sure. I think, just like with the ARRI Signature Primes, there’s a trend away from ultra sharp lenses towards lenses with a distinct character. Let’s wait and see how these new primes will perform (and handle flares etc). Links: Website What do you think of this new trio of full-frame lenses? Are you a SIGMA shooter already? What are your favorite lenses? Share your experiences in the comments below!

After last year’s exclusive sneak peak, Leitz/Leica recently finally unveiled their new LEITZ PRIME lenses and LEITZ ZOOMs. While the PRIMEs come in a full set of 11 lenses, the ZOOMs come as two lenses covering focal lengths from 25mm to 125mm. And all 13 lenses are color-matched! Just a brief history course before we get started about these new primes and zooms: Regarding the company names Leitz and Leica, there might be some confusion, but to clarify things, here it is in a nutshell: it’s basically the same company. It was founded as Ernst Leitz Wetzlar GmbH and –much later, in the 1980s– transformed into Leica (Leitz Camera). Leica and Leitz logos. Spot the difference! That’s why the logos of Leitz and Leica look so similar. In 2008, CW Sonderoptic was founded in order to develop and manufacture Leitz-branded cine lenses, though now the name is Ernst Leitz Wetzlar GmbH once again. Ok, back to our set of new prime lenses and two new zooms! Leitz has just introduced a new set of primes, simply called LEITZ PRIME. They cover full frame/vista vision sensors and are color-matched to each other, plus to the other new line of zoom lenses Leitz unveiled, consequently called LEITZ ZOOM. LEITZ PRIME Lenses Leitz/Leica have some reputation regarding cine glass: Summilux-C, Summicron-C, Thalia and M 0.8 primes are their take on high-end cinema lenses. And now, the new PRIMEs and ZOOMs. Here’s a list of features of the set of the 11 prime lenses: 11 lenses ranging from 18mm to 180mm T1.8 Choice of PL or LPL mount Support for Cooke/i and Arri LDS-2 data Color Matched with LEITZ ZOOM Breathing is minimal Distortion is exceptionally low Chromatic aberration is not visible LEITZ PRIME 135mm T1.8 with Macrolux +1 diopter attached. In order to decrease the minimum focus distance, you can deploy the newly designed Macrolux 114 adapters, which –just like the existing Macrolux 95 diopters– come in +0.5, +1 and +2 strengths. They are stackable and Leitz claims that they won’t present any chromatic aberration. LEITZ ZOOM Lenses In addition to the full set of prime lenses, Leitz has introduced two new cine zoom lenses, called LEITZ ZOOM. The first lens covers focal lengths from 25-75mm, the second one takes over at 55mm and ranges all the way up to 125mm. More features include: 25-55mm T2.8 and 55-125mm T2.8 Choice of PL or LPL mount Support for Cooke/i and Arri LDS-2 data Color Matched with LEITZ PRIME No light loss (no ramping) over entire zoom range Parfocal Breathing is minimal Distortion is exceptionally low Chromatic aberration is not visible LEITZ ZOOM 25-75 T2.8 and 55-125mm T2.8. The major benefit of using these primes in conjunction with the two new zoom lenses is the fact that they match perfectly in terms of color. So you end up with a set of 13 lenses, which you can mix’n’match to taste and will always match on your timeline. Neat! Pricing and Availability No word on availability, yet. Pricing is not confirmed, either, but don’t expect these lenses to be cheap. We’re talking high-end cine lenses here and these usually come at a price. Maybe these lenses are targeted more towards rental houses than to individual customers, but in the end, it’s nice to have some choice, isn’t it? Pick the lens that suits your taste/budget/project best and off you go! Links: Leitz What do think of these new additions to the Leitz/Leica lineup? Share your thoughts in the comments below!

Last year at NAB  Zoom has launched the F8n, a professional-grade multitrack field recorder with great build-quality and advanced features like the Look-Ahead Hybrid Limiters, Zoom’s AutoMix, great preamps, timecode in/out and lots more. Now the Zoom F6 field recorder sports the same preamps as the F8n did, with the added benefit of being able to utilise dual A/D converters and record in 32bit, instead of standard 24bit, thus making setting levels and clipping a thing of the past. Information is somewhat limited at this point, but here’s what we were able to find out. The Zoom F6 is not as big in size as you might think. In fact, it’s tiny! The Zoom F6  has six  XLR-inputs and features the same very low noise-floor preamps found in the Zoom F8n (−127 dBu EIN). There is a line-out, a headphone output with a tiny volume wheel and  a timecode in/out (again this is the same as in the F8n. Not continuing the similarities the F6 only has a single SD card slot. Powering the Zoom F6 should be rather easy, given all the options the unit offers: the F6 can either be powered by four AA batteries, USB-C or an L-Series  battery, for which their is a built-in mount on the unit’s backside. The front of the unit  is dominated by six faders, a tiny yet informative LCD and three main buttons to controle recording and playback. The unit can also be connected to Zoom’s Bluetooth adapter and will work with Smartphone app interface as well as Zoom’s F-Control panel. The Zoom F6 will record 6  tracks, as well as a  stereo mix, so 8 channels all in all.So far so good. The Zoom F6 seems like a nice little six-input recorder. Dual A/D converter and 32bit float Now this is where the Zoom F6 really shines. Without going into too much detail, the way the dual A/D converters are set up, it will be nearly impossible to clip the recordings coming off the Zoom F6 – meaning the the preamp just won’t clip. That by itself is a great feature to have. But additionally, this virtually non-clippable sound will then be recorded in 32bit float, instead of the long-time industry standard of 24bit. While 24bit can have  great audio quality there is one inherent problem: louder volumes will be recorded at better quality than lower volumes. In practice this can translate into a situation that many of us have encountered before: You record at a set gain level, and then the person starts whispering. Now you’d have to raise the gain, introducing noise. But with a 32bit recording everything would be recorded at the same quality level, no matter the volume, due to the immense dynamic headroom. On the other end of the spectrum, clipping would be really hard to achieve even you tried it on purpose and even if something clipped on output, you could bring it back down in post, similar to how highlight recovery works with RAW video: the spectrum of data recorded is larger than the available output range, that you can push the signal around more easily. The Zoom F6 is also supposed to be able to record 32bit float to all of its tracks, while also recording 24bit files as backups simultaneously. You can also choose to only record 24bit and use the Advanced Look-Ahead Hybrid Limiters, known from the Zoom F8n. In May we should see some more detail on the Zoom F6 emerge, together with some information on pricing. The unit should be available during the latter parts of  June according to officials from Zoom. Are you excited about 32bit float recording and getting your hands on this ground-breaking new field recorder by Zoom? Let us know what you think in the comments!

Tokina expands its new Opera line of premium lenses with the release of this new 16-28mm f/2.8 zoom lens. After the initial Tokina Opera branded lens, a 50mm f/1.4 prime, this is the first zoom lens of the Opera line. With a fast aperture of f/2.8 and a rather complex lens design, this new lens looks very appealing for both still photographers and indie filmmakers. The lens features a zoom range from 16mm to 28mm and the fast f/2.8 aperture which stays constant throughout the whole zoom range. Fast (and silent) AF is also on board plus a so-called One-Touch Focus Clutch Mechanism for switching between AF and MF. This lens is designed for high-end DSLRs and offers a whooping 15 elements in 13 groups, including 3 aspherical and 3 low dispersion elements. Tokina Opera 16-28mm This first Tokina Opera branded zoom lens is not meant to be super compact. It’s meant to be a lens without optical compromises, a true performer. It’s 3.50″ x 5.35″ (89mm x 136 mm) in size and it’s not a lightweight lens either but a serious tool: It weights 2.09 lbs (950 g)! On thing to mention: It does not offer image stabilization. Lens design of the Tokina Opera 16-28mm f/2.8 zoom lens. The front element is a bit oddly shaped for this focal length range and it actually comes with a downside: You can’t use screw-in filters with the Tokina Opera 16-18mm. But, again, the design serves a greater purpose: Tokina claims that the bulbous front element helps achieving very even illumination and low distortion throughout the frame. Due to this lens design the lens hood comes built in. Additionally, a new multi coating helps with further reducing flare and ghosting, resulting in overall improved contrast when shooting in difficult lighting situations. There are two versions available: Canon EF and Nikon F and it’s not only the mount you’re choosing. Tokina also wants you to feel right at home so the directional rotation of the focus ring matches the direction of proprietary Nikon and Canon lenses. Tokina offers some MFT charts for the new Opera 16-28mm lens. If you want to learn more about how to read a MFT chart, Luminous Landscape has a superb article on the matter: Read it here. Adapting the Tokina Opera Lens Since Nikon F and Canon EF lenses  were originally designed for D(SLR) cameras with a mirror box inside, the flange back distance is pretty large: 44mm for Canon EF and 46.5mm for Nikon F. Since nowadays mirrorless cameras lack the mirror box (hence the name) they use lens mounts with a way shorter flange back distance. This fact opens the door for adapting the Tokina Opera lens to pretty much any mirrorless camera you can imagine. Tokina Opera 16-28mm lens on a Nikon D810 (full frame DSLR). For APS-C sized sensors you can choose between so-called speedbooster lens adapters or regular adapters. In that case, the 16-28mm zoom range will transform to a 25.6-44.8mm equivalent focal length range. All you have to do is choosing between clockwise focus barrel rotation (Nikon) or counter-clockwise rotation (Canon). Once that choice is made pretty much any full frame or APS-C mirrorless camera will work with this lens. The Future of Tokina I might be wrong, but this new Opera line of high quality lenses could mark Tokina’s move into the same terrain in which Sigma’s ART series of lenses is already positioned. Let’s see where this is going but another brand offering premium lenses at relatively affordable prices is always good for us indie filmmakers! Tokina Opera 50mm f/1.4 The Opera line consists of two lenses as of now. One prime and one zoom. Maybe we’ll be seeing much more lenses to come in the near future, choice is always a good thing to have! Links: Tokina What do you think about this new line of high quality lenses? Share your thoughts in the comments below!

Our partners have some very appealing deals this week. We have picked the 10 most promising deals for our readers, including two mirrorless cameras, an iPad Pro that could be used for on-the-go editing, LED lights from Dracast and Datavision and a lens by FUJINON for their X Mount cameras. Our favorite deal is still the FUJIFILM X-T3. This week’s offers are from our partners at B&H (for our readership in North and South America), and CVP (for our European readers). By using our buy links you support cinema5D, as we get a small commission fee for every purchase made through those links. Now, let’s get into it. B&H: FUJINON MKX18-55mm T2.9 Lens with Hoya 82mm NXT Plus UV Filter Kit & FUJINON MKX50-135mm T2.9 Lens – $1,000 Discount, Each The FUJINON MK lenses have received great praise in the filmmaking community. Made for Super 35 sensors in E-Mount and FUJIFILM’s own X-Mount, they are the professional, parfocal, constant T2.9 aperture zoom lenses the run and gun mirrorless shooter might dream about. Not per se cheap, the lenses offer an incredible price to performance ratio, 200° gear focus rotation, smooth apertures, tripod mounts and a close focussing distance of 2.8′ / 0.85 m and 3.9′ / 1.19 m respectively. Buy link: FUJINON MKX18-55mm T2.9 Lens & Hoya 82mm NXT Plus UV Filter Kit   Was: $3,999.00  Now: $2,999.00 (Savings: $1000) Buy link: FUJINON MKX50-135mm T2.9 Lens  Was: $4,299.00  Now: $3,299.00 (Savings: $1000) B&H: Sony Alpha a7 II Mirrorless Digital Camera with Accessory Kit – $400.00 Discount Think the Canon RP is a good deal for a mirrorless full frame camera? Try the Sony a7 II. You can record 1080p at up to 60p with no crop, in either APS-C or full frame mode using Sony’s XAVC-S codec with S-log 2 and – get this – the sensor is even stabilized. Sony’s Hybrid AF utilises both, phase detection and contrast detection in tandem, to provide very capable autofocus performance in both, video and photography. Speaking of photography, this deal is also a professional grade hybrid camera, with its 24.3 MP sensor and 5fps with continuous AF. The kit contains a Sandisk memory card, a battery charger and spare battery, as well as a camera bag. Buy link: Sony Alpha a7 II Mirrorless Digital Camera with Accessory Kit  Was: $1,398.00  Now: $998.00 (Savings: $400.00) B&H: Benro A373T Series 3 AL Video Tripod & S6 Head Kit – $150.00 Discount This deal is a steal and will keep you going for a long time. The 3 section twist-lock legs will support loads of up to 55 lbs / 25 kg, making it capable of supporting even larger rigs at a maximum height of 58.3″ / 148.1 cm and a minimum of 6″ / 15.2 cm. The S6 fluid head comes with a flathead adapter for the legs’ 75mm bowl, and will balance and support loads of 13.2 lbs / 6 kg. The S6 of course can also be used on sliders and the like due to its flathead construction. Buy link: Benro A373T Series 3 AL Video Tripod & S6 Head Kit  Was: $329.00  Now: $179.00 (Savings: $150.00) B&H:Pelican 1510 Carry-On Case with Foam Set (Black) – 20% Discount The Pelican case doesn’t need an introduction. Its watertight, dust-proof construction is a benchmark for quality. This set comes with a free combination lock and a three-piece foam set that can be torn out to suit your camera’s dimensions. There are side and front handles, as well as a retractable extension handle to be used when wheeling the case to your next shoot. Buy link: Pelican 1510 Carry-On Case with Foam Set (Black)  Was: $189.95  Now: $151.96 (Savings: $150.00) B&H: Zoom H1n Digital Handy Recorder (Black) – $20.00 Discount The original H1 is still ubiquitous, due to its low price and robust functionality in a myriad of scenarios. The newer H1n improves the durability and usability of the original design – basically the only flaws the original version ever had. The H1n has a pair of X/Y stereo mics, records WAVs & MP3s up to 24-Bit / 96 kHz to microSD cards, features 3.5mm input/output jacks, built-in limiter and low-cut filter and works as a USB audio interface. It runs on AAA batteries. Buy link: Zoom H1n Digital Handy Recorder (Black)  Was: $119.00  Now: $99.00 (Savings: $20.00) B&H: FUJINON XF 56mm f/1.2 R Lens – $250.00 Discount Combine the FUJIFILM X-T3 and this lens and what you get is pure gold. This 85mm equivalent lens is considered one of the best lenses of the celebrated FUJINON XF lineup. With its fast f1.2 aperture and premium construction it is sharp and will give you the opportunity to blur your background easily, when needed. The minimum focussing distance is  2.30′ / 70 cm and the front diameter is 62 mm. Buy link: FUJINON XF 56mm f/1.2 R Lens Was: $999.00  Now: $749.00 (Savings: $250.00) B&H: Apple 12.9″ iPad Pro (Mid 2017, 512GB, Wi-Fi + 4G LTE, Silver)  – $380.00 Discount Our own Nino just recently wrote an article and conducted an interview with Viennese filmmaker Pedro Hofmann about conducting a whole video editing workflow – start to finish – using just LumaFusion on an iPad Pro, like this one. If you’re in the market for a new editing machine and are willing to consider a more modern workflow, maybe try this for a change. Buy link: Apple 12.9″ iPad Pro (Mid 2017, 512GB, Wi-Fi + 4G LTE, Silver)  Was: $1,279.00  Now: $899.00 (Savings: $380.00) B&H: Dracast LED500 Pro Bi-Color LED Light with V-Mount Battery Plate – $450.00 Discount LEDs are all the rage in lighting, have been and probably will be for a while. This deal offers 3200-5600K variable color temperature, works with V-mount batteries and the12 x 6 x 2″ Panel, weighs in at 4lb. It can be dimmed from 100-0%, has a CRI of 95, an included power adapter and comes with a handy carry case. Buy link: Dracast LED500 Pro Bi-Color LED Light with V-Mount Battery Plate Was: $699.95  Now: $249.00 (Savings: $450.00) B&H: FUJIFILM X-T3 Mirrorless Digital Camera (Body Only, Black) – $100.00 Discount A lot has been written about the FUJIFILM X-T3, and a lot of it here, on cinema5D. We’ve reviewed the camera (twice), crowned it our best mirrorless camera of the year 2018 and just recently reported about a major firmware upgrade. Granted, a discount of $100.00 is not earth-shattering, however 4K 60p in 10bit internal in a sub-$1,500 camera is, so here it is again, with our warmest recommendations. Buy link: FUJIFILM X-T3 Mirrorless Digital Camera (Body Only, Black) Was: $1,499.00  Now: $1,399.00 (Savings: $100.00) CVP: DATAVISION 120W LED FRESNEL LIGHT – €500.00 Discount This deal comes with an almost 50% discount. The LG-D1200M is a 120W LED, with dimmer, focusable fresnel, and built-in barndoors. For around 500€ you get full DMX control and passthrough, and a solid build quality that promises prolonged and stable service times. Buy link: DATAVISION 120W LED FRESNEL LIGHT –  Was: €1,002.91  Now: €505.16 (Savings: €497.75) CVP: LITEPANELS CALIBER 3-LIGHT KIT – €130.00 Discount More lights? The Litepanels Caliber 3-Light kit comes prepared to aid in your 3 point-lighting needs. 3 Caliber fresnel fixtures, multi-joined flexible tripods, gel sets, colour frames, 4-way barndoors and even one full-size lighting stand. The whole kit comes in a handy, padded bag for easy transport. Buy link: LITEPANELS CALIBER 3-LIGHT KIT – Was: €777.20  Now: €642.71 (Savings: €134.49) What do you think of this week’s selection? Share with us if you know and like any of these products.

In September 2018 I had the rare chance of working with a beast of a lens: The Canon 50-1000mm cine servo lens for s35 sensors. It’s huge, it’s expensive and it is quite heavy but for the provided focal range and overall performance it’s actually quite compact! This is my personal review of this impressive cine zoom lens. The Canon 50-1000mm is a strange lens. The story goes that one Ivo Nörenberg approached Canon with his idea of the perfect wildlife zoom lens which offers a vast focal range in a compact and somewhat lightweight design. Canon accepted the challenge and the 50-1000mm cine servo was the result. With a length of 15.9″ (40,4 cm) and a weight of 14.6 lbs (6,6 kg), this zoom lens is quite compact for what it has to offer: a 20:1 zoom range, servo motors for zoom, iris and focus plus a 1.5x extender. All this makes this lens a potential one stop shop for all your wildlife/nature needs. In our case, this lens allowed us to replace a traditional 2/3″ broadcast camera in favor of a camera with a more cinematic s35 sensor, namely the Sony FS7. In 16:9 mode a 23,087mm x 12,970mm (26,481mm image circle) sensor area needed to be covered which isn’t a problem for the 31,4mm image circle produced by the Canon 50-1000mm lens. Canon 50-1000mm Cine Servo Lens For our production in beautiful Andalusia in southern Spain, we deployed several Sony FS7 Mark II cameras, all equipped with prime lenses. A lot of Canon L glass, as well as several Sigma Art lenses, were used. The variable ND filter of the Mark II was perfect in order to get that gorgeous shallow depth of field shots we were after. For the Canon 50-1000mm, we chose to pair it with an FS7 Mark I and leave the lens attached to it at all times. Setting up this camera package with all the support, zoom handle and remote focus wheel did take quite a long time so it was easier to just let it live in one giant flight case for the whole production. The variable ND filter wasn’t necessary because this lens produces a nice shallow depth of field as soon as you get to a certain focal length anyways. The whole setup consists of a remote zoom handle and a remote focus wheel. Carrying the camera around was a two-person job but once it was set up a single operator could handle everything, just like with a ‘normal’ ENG camera. A close-up shot of a subject could be easily achieved from 35m away with the lens set to 1000mm (FS7 s35 sensor, 16:9/1.78). Sometimes we had to place the Canon/FS7 combo pretty far away on top of a nearby hill in order to get some shots without interfering with the other cameras. Performance of the Canon 50-1000mm Working with this lens requires some practice. Even the slightest shake will be fairly visible when working with such a long focal length. A decent tripod is mandatory and our Sachtler Cine 2000 legs along with a Studio 9+9 fluid head did a vey good job. Furthermore, nailing focus is quite a challenge! Trying to find the focal plane at all while operating the lens set to 1000mm is hard… but keeping a moving subject in focus really requires some ZEN-like abilities! The lens offers a T5.0 – F8.9 iris which is not perfect but quite impressive for such a compact lens. Due to the fact that the iris is not T5.0 throughout the whole zoom range, you’ll notice a pretty strong f-drop when zooming in. This can be avoided by setting the iris to T8 or even T11 in the first place. T8 might sound not very cinematic but since we’re talking about gigantic focal lengths here, I can guarantee you a shallow depth of field even when stopping down to a T11. That’s why the regular ND filter wheel of the FS7 Mark I was just fine. No need for the variable ND of the Mark II in order to maintain a certain (wide open) iris. It’s a parfocal lens which means that the lens maintains focus throughout the whole zoom range. This is particularly nice since you can use this feature to set focus on a subject at 1000mm and then zoom out for your desired framing without losing focus. However, the minimum focussing distance is 138″ (3,5m) which underlines the purpose of this lens once again: long distance coverage! For when you really need that extra oomph, the lens offers a 1.5x extender. This transforms the already impressive 1000mm focal length into an even more impressive 1500mm. Of course, the short 50mm end of the focal range also becomes a 75mm then. The lens handles optical aberrations very well and it delivers really nice image quality across the frame (including the edges). To me, this lens offers beautiful 4K optical imaging performance throughout the zoom range, even with the 1,5x extender engaged. Mounting the Lens The flange back can be adjusted which is a very useful feature when using this lens with different camera systems and therefore with different flange focal distances. This is a well-known feature of broadcast lenses and it’s nice to see this on the Canon 50-1000mm lens, too. Vocas E-mount/PL mount It comes with your choice of an EF or PL mount. The mount is exchangeable through a certified Canon service facility. We used a PL mount version along with a Vocas E-Mount to PL adapter in order to mount the lens on the FS7 camera. Speaking of mounting the lens: You really need some heavy duty 19mm rods in order to support this lens properly and avoid severe damage to your camera. The Sony FS7 is not exactly designed to support such a heavy lens and its lens mount chassis will break, no question about it. The Vocas adapter itself is supported by a top mount plate. Working with Servos The Canon 50-1000mm sports an ENG-style motor box on the side of the lens. Three servos are built right in: Zoom, iris, and focus. I used external controls for both focus and zoom while operating the iris manually. Note the two connected cables to the servo box for both focus and iris. A zoom servo handle is really mandatory if smooth zooms are required since the zoom rocker on the lens itself is really hard to reach when working from a tripod. A remote focus wheel also helps to maintain focus without reaching for the rather large focus barrel of the lens. By the way, the focus barrel offers hard stops and 180° degrees of rotation. Each servo can be switched to manual operation. The whole motor unit is detachable if you prefer working with a third party (wireless) focus system. Both 0.5 and 0.8 pitched gear rings are in place. Zoom and iris rings feature a 0.5 gear only. Since the lens requires external power for the servos when using it with the FS7, a standard broadcast 12-Pin camera interface cable runs between the lens and the Hirose connector of the FS7 extension unit. That connection also allows for triggering the camera. So I could use the start/stop button of the zoom handle to start/stop the camera. Specifications Here’s a full list of specifications for this lens: Model Name: CN20x50 IAS H/P1 or CN20x50 IAS H/E1 Mount Type: PL / EF Zoom Ratio: 20x Focal Length Range: 50-1000mm 75-1500mm (With 1.5x Extender) Maximum Aperture: T5.0 at 50-560mm T8.9 at 1000mm T7.5 at 75-840mm (With 1.5x Extender) T13.35 at 1500mm (With 1.5x Extender) Iris Blade: 11 Angle of View (Aspect Ratio 1.78:1 Dimensions 24.6×13.8mm): 27.6° x 15.7° at 50mm 1.4° x 0.8° at 1000mm 18.6° x 10.5° at 75mm (With 1.5x Extender) 0.9° x 0.5° at 1500mm (With 1.5x Extender) Angle of View (Aspect ratio 1.9:1 Dimensions 26.2×13.8mm): 29.4° x 15.7° at 50mm 1.5° x 0.8° at 1000mm 19.8° x 10.5° at 75mm (With 1.5x Extender) 1.0° x 0.5° at 1500mm (With 1.5x Extender) MOD(from Image Plane): 3.5m / 11.5′ Object Dimensions at MOD (Aspect Ratio 1.78:1 Dimensions 24.6×13.8mm): 139.3 x 78.1cm at 50mm 7.3 x 4.1cm at 1000mm 92.9 x 52.1cm at 75mm (With 1.5x Extender) 4.9 x 2.7cm at 1500mm (With 1.5x Extender) Aspect Ratio 1.9:1 Dimensions 26.2×13.8mm 148.3 x 78.1cm at 50mm 7.8 x 4.1cm at 1000mm 98.9 x 52.1cm at 75mm (With 1.5x Extender) 5.2 x 2.7cm at 1500mm (With 1.5x Extender) Pitch of Focus / Zoom / Iris Gear: Focus: 0.8/0.5 Zoom: 0.5 Iris: 0.5 Front Diameter: 136mm Dimensions (W x H x L): 6.89 x 6.72 x 16.27 in. (175.0 x 170.6 x 413.2mm) Approx. Mass: 14.55lbs (6.6kg) Some Downsides Because Canon has designed this lens to be as compact as possible, there have to be some downsides. It’s always about balancing features against some side effects since there’s no such a thing as the perfect lens, unfortunately. In regards of this Canon 50-1000mm cine zoom lens, the most visible downside is its focus breathing. When changing focus between subjects while shooting on a –say– 850mm, focus breathing becomes quite distinctive. Focus breathing results in a change of the field of view just as if you were zooming while pulling focus. In order to prevent this a much more complex internal lens design would be necessary which in return would result in a lens much larger and bulkier than this Canon one. It’s clearly all about the focal range here and the resulting focus breathing is a necessary compromise. Furthermore, this lens does not offer any kind of image stabilization. This would have been nice, given the massive focal length, but –again– would have led to a much bulkier lens overall. Sure, this lens is not exactly lightweight but for its performance, it actually is a really compact and, yes, lightweight piece of gear. Lastly, the lens is really expensive. It costs about 10 times as much as the Sony FS7 camera which we used with it. it really felt a bit like mounting the camera to the lens and not the other way around. Conclusion It was really fun to work with this beast of a lens. It requires some practice but once you are familiar with it it just works. The focal range and optical performance are really impressive. A razor-sharp close-up from 50m away? Not a problem. It’s Chuck Norris approved! It’s certainly not a lens for run and gun style projects but it really offers quite an impressive set of features without too many compromises. The focus breathing is not perfect but it really wouldn’t have been possible to have both, a 20x zoom range and a decently sized lens without making some compromises. Usually I’m not a big fan of zoom lenses and I prefer working with fast prime ones. But this Canon 50-1000mm monster zoom lens was really fun to work with. I never had any issues with it (other than the sheer size of the whole camera package) and I don’t know if we could have accomplished some of the shots with any other lens. Sure, it’s a lens for special purposes but it’s nice to have the choice of using such a lens and still being able to use it like any other lens. Very nice! links: Canon Do you think you’ll ever need such a lens? If yes, what are your thoughts about using an S35 lens rather than a ‘standard’ ENG setup? Let us know in the comments below!

Zoom – the Japanese company famous for their portable audio recorders – just announced an upgrade to the Q2n audio-video recorder: the Q2n-4K. This device looks like a musician’s best friend, let’s take a look at what improved. Don’t Change A Winning Team The first Zoom Q2n was already a big success for Zoom. The Zoom Q2n-4K keeps the same form factor while adding 4K recording capabilities. This camera is made primarily for musicians and not filmmakers, allowing them to capture their stage performances, rehearsals and even make small music videos in 4K without having to lug kilos of audio and video gear. It could have been an excellent camera for vlogging, but it lacks a flip-out screen. 4K All-In-One Device Let’s dive a little deeper into the technical specifications of the Q2n-4K. The camera features a wide-angle (150 degrees) F2.8 lens, a digital zoom, auto gain control, HDR technology, and automatic exposure adjustment. It records MPEG-4 (MOV) files onto microSD / SDHC / SDHX card and can capture images in 4K up to 30 fps (as well as 720 and 1080p). You’ll have the choice between five different FOV options if you want to make your shot wider or tighter. Also, the camera offers 12 predefined scenes to help novice users to better adapt to different lighting. Thanks to two microphones configured in X/Y (120 degrees) that overhang the lens, you’ll be able to capture stereo sound. The microphones are pretty robust as they can handle loudness up to 120 SPL dB. If you only want to record the audio, you can do it in WAV up to 24bit/96kHz. The Q2n-4K is Mac and iOS compatible as an audio interface, and 4K webcam on macOS. Also, you can live-stream on social networks. Simple Ergonomics On the back of the Zoom Q2n-4K, you’ll find a 1.77″ (160 × 128) LCD. Don’t blame it; it’s only for framing purposes on-the-go and menus I suppose. On each side of the screen, there are six buttons in total: 3 for the video settings on the left, 3 for the audio settings on the right. Each button gives you access to the corresponding sub-menu: Video/FOV/Scene and Lo-Cut/Audio/Auto-Gain. At the bottom of the screen are three buttons for the essentials Play/Record/Stop functions. On the left side are the headphones control, a 3.5mm jack input, and output. On the right side, you’ll find the micro-HDMI output and the micro-USB port that you can also use for powering the device. Speaking about power, the Q2n-4K runs on 2 AA batteries, that should provide power for around 2 hours. A mono speaker is integrated, in case you need to check that you recorded the sound, but don’t expect a proper quality sound from it. The device is relatively small, measuring only 58.7 mm x 68.5 mm x 83.0 mm for a total weight of 124g. Optional Accessories When purchasing the Q2n-4K, it only comes with a lens hood, the lens cap, and two AA batteries. A wide range of accessories is already available to expend the device usability, including: BCQ-2n battery case to improve the battery life up to 4X WSU-1 universal hairy windscreen HS-1 hot shoe mount MA2 tripod to mic stand adapter AD-17 AC adapter ACM-1 action cam mount SCU-20 universal soft shell case MSM-1 mic stand mount (ACM-1 is required separately) The Zoom Q2n-4K should be available this month, and you can already pre-order it. What do you think about the specs of the Zoom Q2n-4K? Do you think it’s useful for musicians? Let us know in the comments down below!

SIGMA just announced the release of 5 new lenses, two of the them telephoto zooms, featuring newly developed lightweight magnesium build and different options for various mounts and sensor sizes. The lenses are from the famous Art series, as well as the Sports and Contemporary series.  Art Series Lenses SIGMA 28mm F1.4 DG HSM Further expanding the Art series on the wide end, the SIGMA 28mm F1.4 DG HSM features a rather complex construction with 17 elements in 12 groups, with two low dispersion elements cutting down on chromatic aberration and 9 blades in the aperture. It has a manual focusing override on the barrel and a focusing distance indicator. Minimum focusing distance: 28cm / 11in. Mounts: SIGMA, Nikon, Canon, Sony E-Mount Sensor coverage: Full frame Weight: TBD   SIGMA 40mm F1.4 DG HSM With 9 rounded aperture blades and 16 elements in 12 groups the 40mm F1.4 DG HSM is denoted as being specifically made for extremely high resolution scenarios, like photography above 50MP and video in 8k. It features the same low dispersion elements as the 28mm does. It as well has a manual focusing override on the barrel and a focusing distance indicator. Minimum focusing distance: 40cm / 15.7in. Mounts: SIGMA, Nikon, Canon, Sony E-Mount Sensor coverage: Full frame Weight: 1200g / 42.3oz.   Sports Series Lenses SIGMA 70-200mm F2.8 DG OS HSM The optically stabilised 70-200mm F2.8 DG OS HSM completes SIGMA’s lineup of fast standard zooms, as it joins the 14-24 F2.8 DG HSM Art and the 24-70mm F2.8 DG OS HSM Art, which were already released. It has 24 elements in 22 groups, with 11 rounded aperture blades, providing excellent out of focus rendition and bokeh. The lens comes with a non-detachable Arca Swiss compatible tripod socket, manual override switch and a focus limiter on its body. There is also a customisable button and a focusing distance indicator on its barrel. Minimum focusing distance: 120cm / 47.2in. Mounts: SIGMA, Nikon, Canon Sensor coverage: Full frame Weight: 1805g / 63.7oz.   SIGMA 60-600mm F4.5-6.3 DG OS HSM SIGMA seems hellbent on expanding the really long telephoto end of their lineup. The 60-600mm F4.5-6.3 DG OS HSM joins the 150-600mm F5-6.3 DG OS HSM Sports and the 150-600mm F5-6.3 DG OS HSM Contemporary, being the world’s first 10x superzoom to end at 600mm. It has a complex construction with 25 elements in 19 groups, non-detachable Arca Swiss compatible tripod socket, manual focusing override and a focus limiter. It is intended to be a more versatile extreme telephoto zoom, with the rather standard wide end making it possible not to switch lenses all the time. Minimum focusing distance: 60-260cm / 23.6-102.4in. Mounts: SIGMA, Nikon, Canon Sensor coverage: Full frame Weight: 2700g / 95.2oz.   Contemporary Series SIGMA 56mm F1.4 DC DN SIGMA’s 56mm F1.4 DC DN is the next to join the 16mm F1.4 DC DN Contemporary and the 30mm F1.4 DC DN Contemporary, being aimed mainly at Sony APS-C shooters. On APS-C sized sensors the lens works out to be a roughly 85mm portrait focal length, with 9 rounded aperture blades promising smooth, round bokeh. Minimum focusing distance: 50cm / 19.7in. Mounts: Micro Four Thirds, Sony E-Mount Sensor coverage: APS-C Weight: 280g/ 9.9oz.   All of the lenses above are compatible with the USB Dock and the MC-11 Adapter. We’ll keep you posted on pricing and availability once the lenses are launched.   Ramping up Production with a new Factory In other news, SIGMA just announced a new state of the art facility specialising in magnesium alloy processing, thus bringing this step of their production process in house. The new facility has already provided the magnesium alloy parts used in both zooms mentioned above. With the new L-Mount-Alliance announced at Photokina, the ability to ramp up their production with less dependency on other parts vendors could prove valuable to SIGMA. Are you excited about the new SIGMA lenses? Which one would you buy to expand your collection? Let us know in the comments!