AWARDS GEAR OF THE YEAR
Zoom lens
With so many new mirrorless lens mounts, there’s been a bumper crop of glass coming to the market in the past year. And we always say that optics offer lasting value. Whether searching for an RF mount AF zoom for your Canon or Red, an affordable cine prime, flagship cinema zoom or even an anamorphic, there are awesome options at all price points. As even more mirrorless cameras hit the market, there are a plethora of new Canon RF, Leica L, Nikon Z and Sony E-mount lenses to choose from. Filmmakers can make use of these models to unlock all the features of the latest camera systems. And since clever autofocus mechanisms are very handy for filmmaking, AF lenses are being bought just as often as old-school manual optics. Sony’s 50mm f/1.2 G Master prime is incredibly sharp across the frame, with a de-clickable iris that’s perfect for us moviemakers. Mark II versions of Sony classic zooms – 24-70mm and 70-200mm f/2.8 G Masters – also have features like this. Tamron has been innovating with its 35-150mm optic that’s as quick as f/2 at the wide end, closing down to f/2.8 at the telephoto end. This is LENSES
Canon RF 14-35mm f/4L IS USM Canon RF 24-70mm f/2.8L IS USM
a massive zoom range and very fast aperture, which is why it’s selling like hot cakes. Canon’s newest AF zooms – the RF 14-35mm f/4L IS USM and 24-70mm f/2.8L IS USM – are very popular, bringing all the RF mount improvements, combined with top-tier image quality. And the latest Fujifilm XF 18-120mm f/4 LM PZ WR is a power zoom built for shooting video on the X-H2S mirrorless camera. Or, if you prefer something more traditional, the Fujifilm MK 18-55mm T2.9 is a cine-style manual optic, designed for its lack of focus breathing and axial shift when zooming. It’s a stunner of a lens. If money is no object, the new Canon CN-E 20-50mm T2.4 is a cine zoom lens for full-frame cameras, while the evergreen Zeiss LWZ.3 21-100mm T2.9-3.9 continues to top many people’s wish lists. And Sigma’s cine
Canon CN-E 20-50mm T2.4 Fujifilm MK 18-55mm T2.9 Fujifilm XF 18-120mm f/4 LM PZ WR Panasonic Leica DG Vario- Summilux 25-50mm f/1.7 ASPH Sony FE 24-70mm f/2.8 GM II Sony FE 70-200mm f/2.8 GM II Tamron 35-150mm f/2-2.8 Di III Zeiss LWZ.3 21-100mm T2.9-3.9 Prime lens Canon RF 50mm f/1.2L USM Fujifilm GF 80mm f/1.7 R WR Irix 150mm T3.0 Macro Irix 45mm T1.5 Nikon Z 800mm f/6.3 VR S Sigma 18-35mm T2 Cine Sigma 50-100mm T2 Cine Panasonic Lumix S 85mm f/1.8 Samyang AF 35mm f/1.4 FE II Samyang Xeen Meister 50mm T1.3 Schneider-Kreuznach Isco4all lenses Sigma 20mm f/2 DG DN Contemporary Sirui 50mm T2.9 1.6x Anamorphic Sony FE 50mm f/1.2 GM Zeiss CP.3 50mm T2.1 Zeiss Supreme Prime 15mm T1.8 Lens accessories Cokin Nuances Extreme filters Desview T3 teleprompter Formatt-Hitech Black Supermist Circle kit Formatt-Hitech Firecrest Ultra Cine Superslim kit Lee Proglass Cine IRND 2.1 Magic Video Box Schneider-Kreuznach True-Streak filters SmallRig Mini matte box Vocas five-axis dioptre holder Voxbox Pro
OPTICAL ACES From lens giants to filter heroes, this slew of big brands is leading the way in the world of glass
zooms – the 18-35mm and 50-100mm T2 – are consistently excellent. Competition in the
AF prime market is stiff, with incredible lenses like Canon’s RF 50mm f/1.2L USM and the
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