INDIE LENS SPECIAL
SIRUI: SERIOUS ABOUT CINEMASCOPE S irui’s affordable lens offerings now include different anamorphic series as well as fast primes. For Micro Four Thirds cameras, there the image circle of the lens is just not big enough. These optics give a 1.33x ratio for a 2.4:1 aspect ratio in 16x9.
Sirui’s full-frame anamorphic market includes the Venus 50mm T2.9 1.6x and a 35, 75, 100 and 135mm T2.9. It also has a 28-85mm T3.2 full-frame spherical cine zoom for Canon EF and PL. A new cine range includes Jupiter 24, 35 and 50mm options as well as a 24mm T1.2 Super 35 Night Walker prime. sirui.com
is the Sirui Mars anamorphic set in 24, 35, 50 and 75mm focal lengths and supplied in a fitted Peli case. Then there is the Super 35 anamorphic range of lenses in 24, 35, 50 and 75mm in L-Mount, E mount, RF, Micro Four Thirds or FZ. These cameras must be used in no bigger than Super 35 mode, however, as
AFFORDABLE OPTIONS If you want to go anamorphic on a budget, Sirui has a whole range of lenses to suit
SPEEDY TAMRON
SUPERZOOM T amron has an expanding range of AF lenses, but the most interesting is the 35-150mm f/2-2.8 Di III VXD. Costing £1800/$1899, it offers a wide zoom range with a superfast f/2 maximum aperture at the wide end. It was the first wide-ranging zoom with an f/2 aperture for the most- popular mount: full-frame Sony E. It’s no lightweight at 1165g/2.57lb in weight and 89x158mm/3.5x6.2in in size, with an 82mm filter thread. But it’s well- built and weather-sealed for professional use. And it is designed to replace more than a few lenses in your bag, so it can actually offer an overall weight saving. At the wide end, the lens is a 35mm f/2 which closes down to around f/2.5 at 60mm and then f/2.8 from 85mm all the way to 150mm. Its fast aperture means it is good for low light as well, even if there is no optical image stabilisation. It’s not the fastest for autofocus in sports and wildlife, but is quick enough for general work, at which it excels. transcontinenta.co.uk
THE ZEISS IS RIGHT G erman lens giant Zeiss was one of the first premium optical manufacturers to realise the switch to full-frame
and are the same physical size, apart from the 100mm and 135mm telephoto lenses, which are slightly longer. The CP.3s have user-swappable lens mounts and are available in PL, Canon EF, Nikon F, Micro Four Thirds and Sony E mounting options. They also come in standard or XD (eXtended Data) versions. Zeiss also offers a full range of AF and MF lenses to suit everything from mirrorless and DSLR cameras through to the largest cinema equipment. zeiss.com ZEISS AND EASY CP.3 primes are incredibly popular and compact – and make lots of sense for indie filmmakers who demand great quality “The CP.3 range offers higher contrast, rich blacks and saturation”
compact cameras would be huge in filmmaking, and it needed more compact and affordable glass. The CP.2 range was born, superseded by the more compact and high-quality CP.3 line-up. This is upgraded to the CP.3 XD series, which adds lens-data technology to speed up and simplify post-production thanks to real-time info on distortion and shading. For most filmmakers, the standard range is good enough, as it offers the exact same optical quality of crisp and clean images. The CP.3 range offers higher contrast, rich blacks and more saturated colours without nasty glares or flares thanks to advanced coatings, painted lens rims and light traps in the barrel. The choice is 15, 18, 21, 25, 28, 35, 50, 85, 100 and 135mm. All the lenses offer a maximum aperture of T2.1 apart from the widest three, which are T2.9. They all have a 95mm front diameter
WIDER ANGLE As well as the fast 35-150mm lens, Tamron also has shorter options like this 20-40mm f/2.8
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