GEAR
ALTERNATIVE OPTICS
There are lots of third-party lens manufacturers that offer quality glass, from affordable to approaching the price of the camera brand’s own range. Some surpass the quality of marquee names, or offer something a bit different. Korean brand Samyang has the widest collection of lenses for independent filmmakers. They produce VDSLR optics, higher-end Xeens, as well as an AF range for mirrorless or DSLR. The reasonably priced VDSLR MK2 line is available in 14mm T3.1, 24mm T1.5, 35mm T1.5, 50mm T1.5, 85mm T1.5 and 135mm T2.2. These full-frame lenses fit Canon EF, Sony E, Nikon F, Canon M, Fujifilm X and Micro Four Thirds cameras, DSLR or mirrorless. They are small and light – ideal on gimbals or handheld. Sitting above the VDSLR range are Xeens. Originals are quite large, but the Xeen CF primes we test this issue are smaller and lighter. A new line-up of Xeen Premiums includes the Anamorphic 50mm T2.3, plus the Xeen Meister in 35mm T1.3, 50mm T1.3 and 85mm T1.3. A set of these three Meisters will cover both full-frame and larger sensors, designed as they are for high-end cinematography. Prices haven’t yet been announced, but won’t be cheap. Swiss-designed Irix continues to grow into serious filmmaking territory, with a six-lens set of stunning-quality cine primes with unique characteristics. For example, there’s an 11mm T4.3 super-panoramic, as well as a 15mm T2.6 model. While the 11mm is a special-use lens for its singular angle of view, the 15mm is far more useful, giving a very wide field of view on full-frame cameras – and roughly a 20mm equivalent on Super 35.
SUPER ZOOM Tamron’s 35-150mm lens has a maximum aperture of f/2 (above)
SAMYANG STYLE The VDSLR MK2 range (above) is an affordable set of cine primes for mirrorless cameras
Tokina and Tamron. Perhaps the most exciting is Tamron’s 35-150mm – the world’s first mirrorless zoom for Sony E-mount with a maximum aperture of f/2. This does mean it’s larger and heavier than normal zooms, and the f/2 closes down to f/2.8 at longer focal lengths. The 35- 150mm f/2-2.8 Di III VXD weighs 1165g/2.57lb and is 158mm/6.2in at 35mm. Minimum focus distance is 33cm/13in and the aperture is made up of nine blades. Optical construction features 21 elements in 15 groups, with four LD (low dispersion) and three GM (glass-moulded aspherical), claimed to achieve high quality at the edges of the frame and reduce concentric-circle bokeh. The lens drive has a VXD linear motor focus mechanism for fast, high-precision AF, and its quietness is useful for video. A connector port works alongside Tamron Lens Utility software, for customising functions and updating firmware. irixlens.com mtfservices.com samyanglens.com tamron.eu
Three fast T1.5 lenses feature in 21, 30 and 45mm versions. At the long end is a 150mm T3 macro, which gives 1:1 reproduction for super close-ups. It’s also a great short telephoto. No Irixes look or feel like budget options, with stunning build quality and cool traits such as magnetically attached lens hoods. On some, Irix has a second focus ring called the adaptive ring, for handheld use. Focus breathing is virtually impossible to detect across the range, and images are very sharp with neutral colours. On top of the anamorphics in full-frame with crop-sensor spec we test this issue, Sirui also has a new series of manual focus cinema lenses. Jupiter includes a 24mm T2, 35mm T2 and 50mm T2, all with macro close-focusing capability. Most interesting of all is its rare full-frame zoom cinema lens: the parfocal 28-85mm T3.2. Jupiters are solidly made from high-grade metal and will go on sale soon. We’ll test them when they hit the market. In terms of aftermarket AF lenses, there’s a much wider choice from manufacturers like Sigma,
SWISS STUNNER The 150mm Irix is a macro optic, so can focus very close
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