Gear of the Year | awards
Classy glass makes all the difference, so choose your ultimate optic
enses and their accessories are at the very heart of the Pro Moviemaker Gear of the Year Awards. It doesn’t matter if
the Zeiss LWZ.3 21-100mm T2.9-3.9 is a benchmark choice for serious production. Prime lenses were also impressive throughout the year. Canon’s RF 45mm f ∕ 1.2 STM offers a fast standard option at a cut price, while Laowa expanded its unusual optics line-up with the 17mm f∕4 Zero-D Tilt-Shift, 35mm f∕2.8 Zero-D Tilt- Shift, 90mm f∕2.8 2x Ultra Macro APO, as well as the 200mm f∕2 AF FF. Sigma’s Aizu Prime 65mm T1.5 cine lens, 35mm f∕1.2 DG DN Art, 135mm f∕1.4 DG Art and 200mm f∕2 DG OS Sports all delivered premium performance across multiple mounts. Also, with the relaunch of the iconic Otus ML 35mm f∕1.4 and set of Aatma cine lenses, Zeiss is still at the forefront of optical innovation. Lens accessories also played a major role this year. Irix’s PL to Sony E adapter with magnetic filters proved especially useful, the Tamron-Link system simplified
you are filming a documentary, branded content or cinematic YouTube videos, the right lens can transform your visuals. This year has seen a huge range of standout optics, from compact all-round zooms to specialist cine glass. Canon’s RF 7-14mm f ∕ 2.8-3.5L STM introduced an ultra wide fisheye zoom unlike anything else currently available. Fujifilm’s recent XC 13-33mm f ∕ 3.5-6.3 OIS gave creators a lightweight, all-purpose option, while Nikon pushed superzoom tech further with the 28-135mm f ∕ 4 PZ power zoom. Tamron continues to grow with its 35-100mm f ∕ 2.8 Di III VXD and Sigma continued its impressive run with the 300-600mm f ∕ 4 DG OS Sports telezoom and 28-105mm T3 AF Cine hybrid, while
customisation, Polar Pro introduced some new close-up filters with its Shift Diopter Shortstache set and the Vocas MB-260 Matte Box proved the traditional filter sets are still the ultimate flex for many. Cast your vote at promoviemaker.net
The shortlist
Zoom Canon RF 7-14mm f/2.8-3.5L Fisheye STM Canon RF 28-70mm f/2L USM Canon RF 70-200mm f/2.8 L IS USM Fujifilm XC 13-33mm f/3.5-6.3 OIS Fujifilm GF 32-90mm T3.5 PZ OIS WR Nikon Z 24-70mm f/2.8 S II Nikon Z 24-105mm f/4-7.1 Nikon Z 28-135mm f/4 PZ Nikon Z 70-200mm f/2.8 VR S II Panasonic Lumix 100-500mm f/5-7.1 OIS Samyang AF 24-70mm f/2.8 FE Sigma 20-200mm f/3.5-6.3 DG Contemporary Sigma 28-105mm T3 AF Cine Sigma 300-600mm f/4 DG OS Sports Sony FE 24-50mm f/2.8 G Sony FE 28-70mm f/3.5-5.6 OSS II Sony FE 50-150mm f/2 GM Tamron 16-30mm f/2.8 Di III VXD G2
Laowa 17mm f/4 Zero-D Tilt-Shift Laowa 35mm f/2.8 Zero-D Tilt-Shift 0.5x Macro Laowa 90mm f/2.8 2x Ultra Macro APO Laowa 200mm f/2 AF FF Nikon Z 35mm f/1.2 S Samyang AF 35mm f/1.4 P FE Prima Schneider-Kreuznach Isco4all Sigma Aizu Prime 65mm T1.5 Sigma 35mm f/1.2 DG DN Art Sigma 135mm f/1.4 DG Art Sigma 200mm f/2 DG OS Sports Sirui Astra 50mm T1.8 Sony FE 16mm f/1.8 G Sony FE 100mm f/2.8 Macro GM OSS Thypoch Ksana 21mm f/3.5 Zeiss Otus ML 35mm f/1.4 Zeiss Aatma set Lens accessory Autocue Explorer 17in Desview T22 Teleprompter Irix PL to Sony E adapter with magnetic filters Magic Video Box Polar Pro Shift Diopter Shortstache Schneider-Kreuznach Diopter Spot filters Tamron-Link Vocas MB-260 Matte Box
Tamron 35-100mm f/2.8 Di III VXD Zeiss LWZ.3 21-100mm T2.9-3.9 Prime Apsara Lumière 50mm T1.4 Canon RF 14mm f/1.4L VCM Canon RF 24mm f/1.4L VCM Canon RF 45mm f/1.2 STM Cooke SP3 set Elysas Muse Prime 40mm T1.8 Irix 65mm T1.5 Cine
Voxbox Pro MK3 Zeeprompt ZP12
Glass off Is the Canon RF 7-14mm (middle) your pick, or maybe Sigma’s 20-200mm zoom (bottom) or speedy 200mm f/2 prime (top)?
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