GEAR OF THE YEAR AWARDS
Zoom lens
Canon RF 14-35mm f/4L IS USM Canon RF 24-70mm f/2.8L IS USM
Canon CN-E 20-50mm T2.4 Fujifilm MK 18-55mm T2.9 Fujifilm XF 18-120mm f/4 LM PZ WR Panasonic Leica DG Vario- Summilux 25-50mm f/1.7 ASPH Sony FE 24-70mm f/2.8 GM II Sony FE 70-200mm f/2.8 GM II Tamron 35-150mm f/2-2.8 Di III Zeiss LWZ.3 21-100mm T2.9-3.9 Prime lens Canon RF 50mm f/1.2L USM Fujifilm GF 80mm f/1.7 R WR Irix 150mm T3.0 Macro Irix 45mm T1.5 Nikon Z 800mm f/6.3 VR S Sigma 18-35mm T2 Cine Sigma 50-100mm T2 Cine Panasonic Lumix S 85mm f/1.8 Samyang AF 35mm f/1.4 FE II Samyang Xeen Meister 50mm T1.3 Schneider-Kreuznach Isco4all lenses Sigma 20mm f/2 DG DN Contemporary Sirui 50mm T2.9 1.6x Anamorphic Sony FE 50mm f/1.2 GM Zeiss CP.3 50mm T2.1 Zeiss Supreme Prime 15mm T1.8 Lens accessories Cokin Nuances Extreme filters Desview T3 teleprompter Formatt-Hitech Black Supermist Circle kit Formatt-Hitech Firecrest Ultra Cine Superslim kit Lee Proglass Cine IRND 2.1 Magic Video Box Schneider-Kreuznach True-Streak filters SmallRig Mini matte box Vocas five-axis dioptre holder Voxbox Pro including two kits from Formatt- Hitech. The popular Schneider- Kreuznach True-Streak filter and Lee Proglass Cine IRND 2.1 are also nominated, joined by the Cokin Nuances Extreme Filters. The Vocas universal five-axis diopter holder helps you focus much closer. For the right-down-the-lens style of interview, the Voxbox Pro and Magic Video Box are great.
LENSES
cameras, while the Zeiss LWZ.3 21-100mm T2.9-3.9 continues to impress. Sigma’s 18-35mm and 50-100mm T2 cine zooms are consistently excellent. In the AF prime market, Canon’s RF 50mm f/1.2L USM and the Sigma 20mm f/2 Contemporary are stunning, as well as the Fujifilm 80mm f/1.7 R WR GF for medium format and the Nikon Z 800mm f/6.3 VR S super-telephoto. Also, take a look at Sony’s 50mm f/1.2 G Master prime, which is incredibly sharp and – like most of Sony’s newer G Master range – has a de-clickable iris. Many filmmakers love manual prime lenses for their fast apertures and smooth feel when focusing. The Irix 150mm T3.0 Macro and 45mm T1.5 offer handling innovations. Samyang Xeen Meister 50mm T1.3 or Zeiss 15mm T1.8 Supreme Prime take performance to a new level. Anamorphic lenses are still coveted and the affordable Sirui 50mm T2.9 Anamorphic 1.6x is now built for full-frame cameras. Schneider-Kreuznach’s new ISCO4all lenses are three stand-alone cine primes and an anamorphic front adapter. There’s also a category for accessories, such as the affordable SmallRig Mini matte box, and filters
Wider, longer, faster, brighter, lighter. Just when you think there couldn’t be any great improvements in optical technology, manufacturers continue to innovate. Once again, lenses to fit mirrorless cameras are booming – and there are plenty of new Canon RF, Leica L, Nikon Z and Sony E-mount pieces from the marques themselves, alongside third-party indie brands. As intelligent AF systems for filmmaking gain ground all the time, autofocus lenses are being bought as often as cinema-style manual optics. There are new Mark II versions of both Sony zooms – the 24-70mm and 70-200mm f/2.8 G Masters – that have a de-clickable iris. Tamron has been innovating with its 35-150mm zoom that is as fast as f/2 at the wide end, closing down to f/2.8 at the telephoto end. Canon’s new AF zooms – the RF 14-35mm f/4 L IS USM and 24-70mm f/2.8L IS USM – are very popular. And the latest Fujifilm XF 18-120mm f/4 LM PZ WR is a power zoom that’s built for shooting video on the X-H2S mirrorless camera. The Fujifilm MK 18- 55mm T2.9 is a cine-style manual zoom designed to minimise focus breathing and axial shift. The Canon CN-E 20-50mm T2.4 is a zoom cine lens for full-frame
AWESOME OPTICS
Great glass from the likes of Sony and Fujifilm are shortlisted, so have your say and vote
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