GEAR
MIRRORLESS LENSES
2. A NEWSTANDARD OF SUPERFAST
The EF mount has served Canon users well for decades, but now it’s full speed ahead with the RF mount, as that’s where all the innovation is going. The RF mount has 12 electronic contacts, providing more power to the lenses for speedier focusing, enabling the camera and lens to communicate ten times faster. The mount features short back focus and the widest lens throat of any 35mm system, enabling the design of fast lenses that focus quickly. The fastest of all is the Canon RF 50mm f/1.2L USM, the RF version of the incredibly popular 50mm f/1.2L EF lens. Where the EF lens is optically excellent, but not the fastest to focus, the RF version takes everything to a new level. It also has a programmable control ring, so you can customise it to control a whole
variety of settings, such as ISO and aperture. At £2389/$2299, it’s not a bargain and is not exactly light at 950g/2.09lb. But it’s a serious piece of glass that will give service for years, unlock the AF power of your Canon EOS R mirrorless camera and offer incredible bokeh. Shot wide open at f/1.2, it gives a very shallow depth-of-field and smooth out-of-focus zones, thanks to its circular, 11-bladed aperture. canon.com “Where the EF lens is optically excellent, the RF version takes it to a new level”
FAST COMPANY This Canon 50mm f/1.2 RF lens is the sort of optic that will become a legend in the range and give great service for decades
3. THE CLASSIC LOOK
Based on the super-sharp Sigma cinema primes, the Classic range has some non- coated elements that give low-contrast, artistic flare and ghosting effects for a vintage look. There are nine rounded iris blades, so bokeh is very smooth. A set of ten lenses is available from 14mmT3.2 to 135mmT2.2, but we like the 40mmT2.5, as it’s designed specifically for filmmakers. The lenses only come in PLmounts, so you need a converter to fit them to mirrorless mounts. The soft look of the image means it can be difficult to focus using the camera screen and it’s best to go with an external monitor. Using different apertures affects the image significantly, with wider apertures giving a more obvious soft spot in the centre of the frame. You can really see the soft look (see left), compared to a shot taken with a standard lens. Using specially produced, classic-look lenses gives an instantly cool look – sometimes, a perfectly colour-corrected, razor-sharp lens that controls flare is not the best option for a creative-looking film. A bit of softening, some vignetting, fancy flare andmuted colours creates a unique look you can’t replicate in post. A set of all ten costs £41,499/$43,499, so it’s really a rental option. sigma-imaging-uk.com
RETRO VIBE The Sigma Classic lens needs a PL adapter for mirrorless bodies, but gives a distinct look
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PRO MOVIEMAKER
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