GEAR BUYERS’ GUIDE
TIME TO TRY
A SET OF CINE MF GLASS Why splurging on a matched set of cine primes could be a great investment that delivers for decades
WORDS ADAM DUCKWORTH
I t doesn’t take long, using a typical set of AF lenses, to discover they aren’t the best for shooting moving images. Most have fly-by-wire focusing, noisy AF motors, and either no aperture ring or one with click stops. For real control shooting video, a purpose-made cine prime lens has lots of advantages: ultimate optical quality, the ease and tactile feel of manual focusing, anamorphic options and less focus breathing. Some offer changeable mounts, allowing you to switch cameras. A few high-end manufacturers supply lens sets with a distinctive ‘look’, maybe vintage or low-contrast. If you whip out a cine lens on a job, it shows you are truly a professional filmmaker – that could be an advantage when marketing your services to certain impressionable clients. But, nothing says you are a real-deal, super-serious pro like the ultimate in optical one-upmanship – a set of matched cine prime lenses. A collection entirely from the same manufacturer – or, if you’re hardcore, from the same batch – will give total colour consistency across focal lengths. A real matched look, to save hours of colour-matching in post. From a practical point of view, a set is usually consistent in size and control ring placement, between lenses with different focal lengths. This means it’s easier to change glass without having to reset a follow-focus rig, for example, saving vital minutes on-set.
BIG GUNS A set of manual-focus Canon cinema primes is a big investment, but will give you years of service
The focus ring throw is also usually quite long, in order to provide precise control. And by using special internal systems, cinema lenses are designed to minimise focus breathing. This happens when you change focus and encounter an adjustment in the angle of view, like when zooming in or out. Although many manufacturers are attempting to limit this function on their AF primes, cine optics do not. Top-end lens manufacturers such as Arri, Angénieux, Cooke, Leica and Zeiss offer stunning-quality options, although these come at very high prices. Generally, they would be rental options. But there are more affordable models out there that can be bought or rented for special jobs. As an example, Zeiss offers both with its premium ranges like Ultra Primes and Master Primes – but also a far more attainable line called Compact Primes, or CP.3. So, let’s take a look at what’s currently on the market that could make sense for independent filmmakers – either as a purchase or rental option.
When buying your first set of primes, it’s best to go for neutral and relatively contrasty multipurpose lenses with great flare control – then create any unusual looks in post. Of course, if you are convinced you will always need a set of Canon Sumires or Sigma Classic Primes for their unique look, go for it. It could end up being part of your signature style. While AF lenses have f/stop apertures based on mathematical and theoretical equations, cine primes often have fast, large T stops that are clickless. This is an actual measure of light transmission, so T5.6 on one lens is the same as T5.6 on another at any focal length. Cine primes tend to have a lot of aperture blades, to give smooth bokeh.
“A collection entirely fromthe samemanufacturer –or, if you’re hardcore, fromthe same batch–will give total colour consistency across focal lengths”
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PRO MOVIEMAKER
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