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FEATURE LOOK OF LENSES
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5. ZEISS Zeiss announced its CP.3 primes at last year’s NAB; the XD-suffix lenses include an electronic interface “based on” Cooke’s /i protocol. There are now ten lenses in the range, from 15mm to 135mm, achieving T2.9 at 21mm and below, and T2.1 otherwise. At around $5000 apiece, including the electronics, we’re spared the expense of the highest-end full-frame options while maintaining quality at a level that’s compatible with many productions. Zeiss’s lens options retain a keen following. Cathal Watters chose Zeiss Super Speeds for Peaky Blinders , and he shares the widely-held desire for a less pristine look. “I know the Super Speeds, what they give. I did a thing last year on Ultra Primes and they’re a certain look, but it’s a little too clean for me. I prefer the older look, the Super Speeds.” 6. CANON Canon’s new super-fast CN-E20mm T1.5 L F 4K cine prime lens is compatible with the newly launched EOS C700 FF, as well as the EOS-1D C and other full frame cameras. The new 20mm is consistent with the rest of the Canon EF Cinema lens range, offering Canon fans familiarity with the gear position, front diameter, total length and rotation angle. The lens also has a professional grade, 300° focus rotation angle. 7. SIGMA Sigma’s 2016 entry to the world of cinema lenses made sense given that its cinema lenses are derived from its stills photography glass. That has allowed the company to maintain a modest price point, though at the risk of controversy over having described the zooms as ‘near parfocal’. This might be ultra-caution in the light of very high resolution modern cameras, which could reveal very tiny errors. Overall, the engineering and ergonomics have been warmly received. New at NAB 2018 was a wide-angle zoom, the 14-24mm F28 DG HSM Art, offering APS-C coverage (£1200). It’s not from the cinema range and lacks movie ergonomics and mount options, but is likely to find favour among DSLR users shooting both stills and motion. 8. ATLAS Founded specifically to produce a range of 2:1 anamorphic lenses, the Atlas Lens Co. has announced six primes in its Orion range. Specifications are complete on only three of them – the 40mm, 65mm and 100mm. None is heavier than 7lb or longer than 10in, and close focus is 24in on the 40mm and only 42in on the 100mm. While not tiny, they’re compact compared to many existing anamorphics, and with a 31mm image circle they cover the Alexa Open Gate area. At around $8000 apiece, they’ll widely be considered a good deal.
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DEFINITION JUNE 2018
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