AWARDS GEAR OF THE YEAR
SHORTLIST
Zoom lenses Zeiss LWZ.3 21-100mm T2.9-3.9 Sigma 18-35mm T2 Fujinon MKX18-55mm T2.9 Fujinon Premista28- 100mm T2.9 Sony FE 200-600mm f/5.6-6.3 G OSS Tamron 17-28mm f/2.8 Canon RF 28-70mm f/2 Panasonic 24-105mm f/4 Nikon 24-70mm f/2.8 S Prime lenses Zeiss CP.3 XD 50mm T2.1 Sigma Cine 40mm T1.5 Canon Sumire Prime CN-E50mm T1.3 Samyang 14mm f/2.8 Z Tokina Firin 20mm f/2 Voigtlander 110mm f/2.5 Macro Sony 600mm f/4 GM OSS Irix 150mm T3 Cine lens Lens accessories Vocas MB-256 matte box Vocas Canon R-mount to PL adapter Vocas 5-Axis Diopter Fujinon OptMag TL-OMFF full-frame lens adapter SLR Magic Anamorphot adapter Formatt-Hitech Firecrest ND filter Tiffen Natural ND filter Tiffen DJI Osmo Action filters Schneider-Kreuznach True Streak filter Sigma 50mm f/1.4 Art Canon RF 50mm f/1.2
LENSES “Invest in glass” is an old maxim, and it’s as relevant today as ever. Good lenses can last a lifetime, hold their value and best of all, make a huge difference to your films. And with the most popular cameras being mirrorless or cinema cameras with interchangeable lenses, a clued-up filmmaker can buy wisely
breathing, but DSLR or mirrorless style lenses can have advanced autofocus and image stabilisation. With emerging lens mounts such as Nikon Z, Leica L to fit Panasonic and Sigma, Canon R and Fujifilm X, there is a whole range of new optics coming on to the market. And some, like the Canon 28-70mm RF, have an incredibly fast f/2 maximum aperture. Canon has introduced the Sumire Prime range of lenses with a unique, vintage character; and unusually for Canon, they come in the cinema standard PL mount. Don’t forget the accessories that can make a big difference to your glass’s usability. Vocas has some great kit including the new 5-Axis Diopter adapter, as well as the MB- 256matte box. Filters are essential and youmight wish to vote for something fromTiffen, Schneider- Kreuznach or Formatt-Hitech, while the SLRMagic Anamorphot adapter gives the stylish cinemascope look at affordable money.
IMAGES A good lens will hold its value and make a world
of difference to your filmmaking
and use the lenses on a range of cameras with different mounts. Many love the look and feel of prime lenses, with the advantage of a fast maximum aperture to give a pleasing shallow depth-of-field effect when you want it. Primes can be autofocus, but many filmmakers love the feel of proper manual-focus cine lenses with their lack of focus breathing and precise focus control. And they can be very compact. Equally, many swear by zoom lenses for their framing flexibility despite their smaller maximum aperture. And they can replace a set of primes. Proper cine zooms are parfocal and have little focus
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PRO MOVIEMAKER WINTER 2019
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