IRIX ADVERTISEMENT FEATURE
Cine quality for all Irix brings top-class cinema lenses down to a price that more filmmakers than ever can afford
S o much has changed in the 20 years I’ve been in the industry. Many of us will recall the old MiniDV and DVCPro camcorders, or going back a little further in time to the Betacam SP. Fortunately, the days when only a few had access to professional gear has long gone. Over the years, I’ve worked as an assistant, camera operator, director, director of photography and editor. But being a freelance filmmaker is what I feel most comfortable with. Thanks to the democratisation of technology, one person can now do all the tasks of a production team, giving the customer more time and a personalised service. After dealing with three-chip CCD video cameras in the 2000s, the DSLR arrived – which was a revolution. It brought creators with limited budgets closer to a cinematic look. That leads us to the present day, where mirrorless cameras are lighter, faster and more powerful. They now dominate the pro market of freelancers, as well as small- and medium-sized production companies. Yet, we still have to deal with the visual coldness of digital systems. A cinematic look may remain elusive, only within the reach of large productions, but it doesn’t have to be that way. To do it, you have to prioritise light, glass, then the camera. Light and shadow paint our frames: the camera is simply the device to record this. Luckily, with powerful sensors and processors nowadays, we don’t have to be concerned about many of the issues
that plagued film crews both during and after a shoot. But glass is a crucial part of the process. Many use photographic lenses, which are not always the best option, since they’re not designed for video production. Cine lenses are built for the specific demands of filmmaking. With robust construction and control rings that work with linear, precision movements, they offer exceptional quality. A true cine lens is far superior to a still photography lens in design, features and construction. It makes sense to buy a cinema lens set, but it’s been difficult to locate high- quality, affordable optics. I did my research and found Irix, an international brand. Irix has 11mm T4.3, 15mm T2.6, 21mm T1.5, 30mm T1.5, 45mm T1.5 and 150mm T3.0 focal lengths, with a versatile range that’s ideal for movies, documentaries, commercials and more. They come in mounts, from cinema staples Arri PL and Canon EF, to most mirrorless fitments. All Irix Cine lenses are designed for Ultra HD cameras that resolve video in 8K, with an aspherical, pair of high-reflective and trio of extra-low dispersion elements. There’s also ultra-low distortion and practically no focus breathing – less than 1.5° change of view in the full focus range from 0.3m through to infinity. Geared 0.8M rings have been built to recess into the silhouette of the body, to keep the lens looking and feeling sleek, while enabling you to position follow focus anywhere you like. The Magnetic Mount
By Irix ambassador David Sanchez
System allows accessories like the included lens hood and range of Irix filters to be quickly added, removed or combined, without need for further accessories. Irix Cine lenses are solidly built and have weather-sealed construction. Best of all, they offer pleasing visual characteristics – with soft, beautiful bokeh. Flair is very cinematic, reminiscent of far more expensive optics. This is impressive for any lens, but especially one that typically costs around $1000 – compared to better- known brands only available to big-budget productions. Get yourself affordable and high-quality cinema glass with Irix.
More information
irixlens.com
CLASS GLASS From two super wide-angle lenses – the 11mm and 15mm – through to the close-focusing 150mm macro, the six-strong Irix Cine range offers stunning quality at an accessible price
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