GEAR IRIX CINE LENSES
Sony A7S III to a 50-megapixel Sony A1 and FS7 cinema camera. We were impressed all round. There is an 86mm front filter thread on the 45mm version, but none on the 21mm due to the bulbous front element. Both lenses have a standard 95mm front, for easy fitment of a matte box. The top and bottom of each has threaded holes for a lens support. Aperture rings are smooth, with a decent amount of damping and a long, 75° throw. The focus ring is also just right and has a 180° throw. Manual focusing really is a joy, with such a tactile and direct feel – something you don’t get from AF lenses. Both have standard 0.8 pitch gears. These are slightly recessed into the body, rather than being big, aggressive-looking teeth on the outside. It’s a nice touch and results in a rather classy look. They work well with standard follow-focus attachments. Lens markings are available in imperial or metric – we had one of each! These glow in the dark to help in low-light sets, which is a welcome feature. In bright sunlight, control of flare proved excellent. Although you do get significant flare with any 21mm lens when the sun is in the shot. It was pleasant and not distracting, though. Each lens is specially designed for 8K shooting, with minimal vignetting, virtually no focus breathing and smooth bokeh. The 45mm lens is good for bokeh, even though it only has a nine-bladed iris. By comparison, the 21mm version is 11-bladed, for an even smoother effect.
THE VERDICT A set of cine lenses can do wonders for your footage, as long as you have the time to set up and use them properly. They are not ideal for run-and-gun documentary shooters, ENG operators or capturing very fast-moving action. For slower, more considered work, cine lenses have a lot of advantages, including how smooth they are to focus, how little they breathe and the cool look you get wide open. That These Irix cine lenses provide an entry-level gateway into the wide world of cinema glass, but don’t look, feel or perform like a cheaper option. T1.5 aperture really does produce a great image. All distortion and vignetting is well-managed, although you may have to manually correct it in your NLE. There are no auto-correction features, since there’s no communication between the lens and camera. For that kind of tech, you need something like a Zeiss CP.3, but this costs much more. Focus breathing on both lenses is good and images are sharp, but do soften slightly when used wide open – this actually adds a bit to the character. If you’re not shooting cine glass like this occasionally, you’re missing a trick. These Irix models give an attainable entry point into the world of high- performing cine lenses.
STABLE PERFORMERS
The Irix duo work well for mirrorless (above), with semi-recessed gears (right). The 45mm gives a lovely, natural perspective (below)
More information
irixlens.com
HOW IT RATES Features: 8 Usual stripped-back functionality of cine lenses Performance: 9 Images are sharp and detailed, with natural colours Handling: 9 As good as it gets for a cinema lens Value for money: 9 OVERALL RATING: 9/10 Takes your filmmaking to the next level Pros: Lack of focus breathing, affordable option Cons: No AF, IBIS or lens-to- camera communication An affordable price for great-performing glass
“Lens markings glow in the dark to help in low-light sets – a welcome feature”
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