Pro Moviemaker September/October - Web

AWARDS GEAR OF THE YEAR LENSES

Zoom lens Canon RF 14-35mm f/4 L IS USM

Canon CN-E 18-80mmT4.4 FujinonMK 18-55mmT2.9 Panasonic Lumix S Pro 70-200mm f/2.8 OIS Sigma 18-35mmT2 Cine Sigma 50-100mmT2 Cine Sony FE 12-24mm f/2.8 GM Tamron 70-180mm f/2.8 Di III VXD Zeiss LWZ.3 21-100mm T2.9-3.9 Prime lens Canon RF 50mm f/1.2L USM Canon CN-E50mmT1.3 FujifilmGF 80mm f/1.7 RWR Irix 150mmT3.0Macro Irix 45mmT1.5

just manual focus primes that are selling out. Lots of filmmakers are big fans of manual prime lenses for the unique look they can produce, tactile feel when focusing, and super-wide maximum aperture for creamy bokeh. But there are lots of AF primes offering fast focusing, too. Although many still love the feel of proper manual-focus cine lenses, plus a lack of focus breathing, certain AF primes are getting close in these areas. Sony’s latest 50mm f/1.2 G Master offers fast AF, incredible sharpness across the frame, and a de-clickable iris that’s better for moviemakers. But competition in the AF prime market is tough, with the likes of Canon’s RF 50mm f/1.2L USM and the Sigma 35mm f/1.2 DG DN Art L-Mount also offering superb performance. If it’s a cine prime that really floats your boat, then new brand

Always invest in the best glass you can afford. Cameras come and go, but great optics not only make a real difference to your work, but also offer lasting value – they can be used on lots of different cameras through your filmmaking career. Some can even have their mounts changed if you swap brands. Lenses offer real longevity. For many years, PL-mount cinema primes and zooms ruled the roost. Then came the DSLR revolution and interchangeable- lens digital cinema cameras, before Canon EF mount, as well as MFT, really got a foothold. Sony emerged with the E-mount across its whole range – from compact mirrorless, to high- end cinema cameras. Now, with even more full-frame mirrorless cameras hitting the market, there is a big change towards the Canon RF mount, Leica L-Mount and Nikon Z mount. The great switch to native mirrorless glass shows no sign of slowing down, as filmmakers are keen to get new lenses to unlock all the cool features of their cameras. And with AF becoming far more usable for filmmaking thanks to clever hybrid systems, it’s not

Nikon ZMC 105mm f/2.8 VR S Panasonic Lumix S 85mm f/1.8 Samyang 85mm f/1.4 FE Samyang Xeen CF 50mmT1.5 Sigma 35mm f/1.2 DGDN Art L-Mount

Sigma 35mm f/2 DGDN Contemporary L-Mount

CLOSE CONTROL Irix, Fujifilm and Zeiss make some truly stunning MF cine zoom and prime lenses

Sirui 75mm f/1.8 Anamorphic 1.33x

Sony FE 50mm f/1.2 GM Tokina Firin 100mm f/2.8 FEMacro Zeiss CP.3 35mmT2.1 Lens accessories Bright TangerineMisfit Atom matte box Formatt-Hitech Black Supermist Circle Kit Lee ProGlass Cine IRND 2.1 PolarPro Peter McKinnon VND Mist Edition II filter Schneider-Kreuznach True-Streak filter SigmaMount Converter MC-11 EOS to E

SmallRigMini Matte Box TiltaMB-T03Matte Box Vocas MFC-2S follow focus

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