Pro Moviemaker Spring 2020

AWARDS

THEWINNERS

Zoom lens • Sigma 18-35mm T2 Prime lens • Zeiss CP.3 XD 50mm T2.1 Lens accessory • Schneider-Kreuznach True-Streak filter

LENSES

little aberration or vignetting, and is as close to being parfocal and free of focus breathing that the vast majority of users will ever need. The Sigma 18-35mmT2 is a fast, useful and well-built lens. Accessories for your lenses can make a big difference. This year, you voted in big numbers for such goodies as the Vocas MB-256matte box and SLRMagic Anamorphot adapter to give the cinemascope look for affordable money. But in the end it was the Schneider-Kreuznach True-Streak filter that was voted the clear winner. The True-Streak filter is available in lots of subtly different options so you can choose the precise look for each shot, and are designed to recreate the classic anamorphic streak effect without the use of eye-wateringly expensive anamorphic lenses. Traditionally, the blue True-Streak filters are used to create this effect so beloved of sci-fi filmmakers, but Schneider offers eight other colour options to choose from, as well as clear. With a wide aperture, highlights take on the lovely anamorphic flare that can give a great look to a shot for creative effect. OK, it’s not a real anamorphic flare – but it comes pretty close. The quality provided by the filters is incredible, and it shows why Schneider is at the top of its game when it comes to supplying kit for professional filmmakers.

compact without compromising on optical quality. The lens coatings have been improved for sharper images with less ghosting, and there is smoother focusing thanks to an internal redesign. CP.3s also have user-interchangeable lens mounts to fit EF, PL, Nikon F, Micro Four Thirds and Sony E. For the ultimate in framing flexibility and to replace a whole set of prime lenses, many filmmakers swear by zooms – despite their smaller maximum apertures. Proper cine zooms are parfocal and have little focus breathing, but DSLR or mirrorless-style lenses can have advanced autofocus and image stabilisation. The winner is definitely in the former class, as the Sigma 18-35mmT2 cine zoom is the Pro Moviemaker victor. Any zoom lens is always a compromise, as you can’t break the laws of physics and get ultra-fast maximum aperture, zero distortion, a total lack of focus breathing and a total parfocal lens all in one light package. However, the Sigma 18- 35mm comes pretty close to it. With its fast T2 aperture, it can replace a set of fast primes with a shallow depth-of-field and image quality that almost match them. The images are crisp and contrasty without being too clinical, the lens controls flare well and produces pleasing flare when pushed, has smooth bokeh, very

Quality always stands the test of time, and nowhere is this more true than with lenses. Readers of Pro Moviemaker have had their say and voted for their choice of lens and lens accessories, and it’s top quality optics that have clearly won through in all three classes, rather than budget glass. Good lenses can last for a lifetime and hold their value, and if you go for any of our winners then you’re on to a good thing. If you are a total convert to the look and feel of prime lenses, thanks to the fast maximum aperture with lots of blades to give smooth bokeh, as well as uncompromised quality, then you can’t go wrong if you buy our Prime lens of the year: the Zeiss CP.3 XD 50mmT2.1. Of course primes can be autofocus, but many filmmakers love the feel of proper manual-focus cine lenses, with their lack of focus breathing and precise focus control (and they can be very compact). All those factors come together in the Zeiss CP.3 series, which in the latest XD guise offers communication with your camera. The Zeiss CP.3 range is based on the successful CP.2 range but is more

ABOVE The cine zoom from Sigma and cine prime from Zeiss are top quality

lenses that will deliver for years

“For the ultimate in framing flexibility, many filmmakers swear by zooms”

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SPRING 2020 PRO MOVIEMAKER

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