GEAR. LENSES AND FILTERS
speeding up the VFX workflow, but also garners efficiency on-set. Necessary parties can view lens data on Arri’s WCU hand unit, via in-camera status overlay, or on a connected monitor. A first assistant camera, for example, can easily assess whether a subject is in focus. CREATIVE FLARE Zeiss Supreme Primes have been a staple for some time, but following technical developments the brand has launched a Supreme Prime Radiance set, which has been collecting awards throughout the year. As the name suggests, these optics create cinematic flares, with more convenience, control and quality than most filters provide. Performance is the result of a revised T* Blue coating – also serving to maintain contrast and avoid transmission loss. Planned and reproducible lens flares will be a welcome technique for many cinematographers, who value a clean image with more predictable results than vintage glass can offer. Lenses that create unforeseen looks will always be in vogue, but there’s sure to be a market for choices like this, which bring the best of both worlds together. A LITTLE SQUEEZE Anamorphic lenses were, for a long time, reserved only for projects with a suitable budget and scale.
utilise spherical or anamorphic glass on the appropriate projects, these lenses are currently available for rental only. Still, broadened possibilities on any set are never anything but welcome. Elsewhere, Sirui has launched the smallest full-frame anamorphic lens to date. The Saturn 35mm T2.9 measures just 103mm and retains a lightweight balance thanks to a carbon-fibre front barrel. There’s a constant 1.6x squeeze throughout all focus points and, naturally, the lens makes handling more seamless than ever. Placed aboard gimbals, remote tracking vehicles and drones, there’s boundless potential for shot types – all complete with classic oval bokeh and linear flares. There are mounting options for a handful of professional consumer cameras, as well as Sony Venice and Red for the cinema market.
More recently, however, their artistic benefits have become available to more creatives for use in a greater variety of ways. Schneider-Kreuznach’s Isco4all lens series is a perfect example. Based upon three spherical lens options at present – 43, 58 and 85mm, all of which are T2.4 – an anamorphic add-on produces a 1.5x squeeze. While perhaps better-suited to the owner-operator audience, who can
LACE UP IB/E offers unique filters using natural fibres and materials – such as dandelion seeds!
“Lenses that create unforeseen looks will always be in vogue, but there’s a market for choices that bring the best of both worlds”
MODERNISER The Samyang V-AF series (below) brings autofocus to high-end cinema cameras
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