AWARDS GEAR OF THE YEAR
Zoom Canon RF 100-300mm f/2.8 Canon CN-E 20-50mm T2.4 Fujifilm MK 18-55mm T2.9 Fujifilm XF 18-120mm f/4 Samyang AF 24-70mm f/2.8 FE Sigma 18-35mm T2 Cine Sigma 60-600mm f/4.5-6.3 DG DN OS Sony FE 20-70mm f/4 G Tamron 20-40mm f/2.8 Di III Tamron 35-150mm f/2-2.8 Di III Tamron 50-400mm f/4.5-6.3 Di III Zeiss LWZ.3 21-100mm T2.9-3.9 Prime Canon RF 50mm f/1.2L USM Fujifilm GF 80mm f/1.7 R WR Irix 150mm T3 Macro Irix 11mm T4.3 Cine Laowa 24mm f/14 2x Macro Probe Leica Summicron-SL 35mm f/2 ASPH OM System M.Zuiko ED 90mm f/3.5 Macro IS Pro Panasonic Lumix S 85mm f/1.8 Samyang AF 35mm f/1.4 FE II Samyang V-AF 75mm T1.9 Schneider-Kreuznach Isco4all lenses Sigma 50mm f/1.4 DG DN Art Sigma 50mm f/2 DG Zeiss CP.3 18mm T2.9 Zeiss Supreme Prime 15mm T1.8 Lens accessory Desview T3 teleprompter Formatt-Hitech Black Supermist Circle Kit Formatt-Hitech Firecrest Ultra Cine Superslim Filter Kit IB/E Optics Filters Magic Video Box Primelight Design Zee Prompt Samyang V-AF Manual Focus Adapter Schneider-Kreuznach Classic ND DN Contemporary Sirui 35mm T2.9 Anamorphic 1.6x Sony FE 50mm f/1.4 GM Tokina 180mm T1.9 Vista
LENSES C ameras come and go, but lenses continue to deliver for many years – or even decades. That’s the mantra filmmakers of old lived by, and while new mounts such as Canon RF and Nikon Z call for a new set of glass, it still rings true. Nothing will make such an obvious difference to your work as some incredible glass offering lasting value. And many can be adapted if you change systems. If you use the latest mirrorless or cinema cameras, you may wish to invest in native AF glass to make use of the hybrid autofocus systems and in-body image stabilisation. With filmmaking becoming increasingly vital to manufacturers, many offer AF lenses suitable for filmmaking with a de-clickable iris and focus breathing compensation. In zoom and prime, most entries come from camera manufacturers, though there are ever-increasing numbers of third-party lens makers delivering lenses that match or even outperform own-brand optics. Despite this, Sony’s 50mm f/1.4 G Master prime and the FE 20-70mm f/4 G – a wider-angle standard zoom for vlogging – are the latest offerings proving to be a smash hit. Canon’s newest AF zoom, the RF 100-300mm f/2.8, has put users into a frenzy with its incredible spec yet sky-high price, plus Fujifilm’s XF 18-120mm f/4 LM PZ WR power zoom is built for video. From the indie brands, Tamron’s innovative 35-150mm zoom is f/2 at the wide end, closing down to f/2.8 –
an incredibly useful lens allowing for many shoots without changing glass. The Zeiss LWZ.3 21-100mm T2.9- 3.9 continues to be sought-after, as well as its Supreme Primes. Sigma’s 18-35mm T2 Cine lens is a winner with filmmakers still, plus the latest 50mm f/1.4 DG DN Art and 50mm f/2 DG DN Contemporary primes. Upstart brand Irix is growing in the cine market with its 11mm T4.3 offering a super-wide angle and its 150mm T3 Macro boasting a great close focusing capability. Anamorphic shooting continues to expand – from the affordable Sirui range, which has now been increased with the 35mm T2.9, to Schneider-Kreuznach’s new Isco4all. This combines three stand- alone spherical cine primes and an Iscorama anamorphic front adapter to give you the best of both worlds. In the lens accessory category, filters are always a popular choice. The Formatt-Hitech Black Supermist Circle Kit and Ultra Cine Superslim Filter Kit are up for the award, as well as Schneider-Kreuznach’s Classic ND filters and IB/E’s range that use natural materials for a distinct style. To accept pro-style filters, Vocas has its popular MB-216 matte box. Plus, the Samyang V-AF Manual Focus Adapter goes onto the latest V-AF lenses to turn them into real, manual-focus cinema-style optics.
ACE OPTICS Whether you swear by manual focus or love the benefits of modern AF – vote for your faves
SmallRig Mini Matte Box Vocas MB-216 matte box VoxBox Pro
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PRO MOVIEMAKER
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