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Nisi shares more details on its full-frame cine lenses and launches Mist filter range

19 May

In a bid to clear up online speculation, surprise entrant to the full-frame cinema lens market Nisi has answered some questions about its relationship with brands marketing lenses very similar to its own recently-announced F3 series.

NiSi F3 Cinema Lenses

The company says that it owns the designs of its own lenses as it ‘took ownership’ of them from the ‘now dead’ Bokkeh Bokkelux project. Nisi also claims that it has made changes to the original optical and mechanical designs of the series to make the lenses more reliable, the assembly more accurate, and to reduce their overall weight. Nisi goes on to explain that it is a partner of cinema equipment company Kinefinity, and that it manufactures the brand’s Mavo Prime range of full-frame lenses.

The release doesn’t say it directly, but this is clearly a move that aims to end claims that Nisi is just copying existing lenses and marketing them under a different name.

Further details of the lenses have also been released, including that the five officially announced will be joined by 18mm and 135mm focal lengths in the second half of 2018. We should also expect a ‘new and innovative design for an optical accessory’ in the near future.

As the lenses will cover 46.5mm sensors, the F3 series will be compatible with ARRI Alexia LF, Red Monstro VV, Panavision DXL2, SONY Venice and Canon C700FF cameras (as well as ‘future’ models). Service centers are being established in Europe, USA and South Asia.

Allure Mist Filters

Nisi has also introduced a new series of filters to its cinema range. The Allure Mist filters will come in white and black versions and are designed to soften contrast in movie footage. The white version pulls back highlights and reduces the appearance of skin blemishes, while the black version diminishes the effect of flare and creates a misty atmosphere.

They will be available in 4×5.65in and 6.6×6.6in sizes and can be pre-ordered now

A comparison of the effects of the Allure Mist filters, with the Black Mist on the left and the White Mist on the right. Click to enlarge the view

And here’s a demo of the filters in ‘action’:

For more information visit the Nisi website.

Press Releases:

Five Fundamental Facts about the NiSI F3 Range of Full-Frame Prime Cine Lenses (and other news)

Since the announcement of the NiSi F3 range of full-frame lenses, NiSi’s headquarters have been inundated with questions and queries. In order to address some of these, we have compiled a list of answers around five key subjects. Read on for more, and to discover news in our announcement of the new NiSi Allure Mist Black/White Filters

1. Where does the name F3 come from?

The ‘F’ in F3 stands for ‘Full-Frame’. The lenses are all designed for full frame cameras and are extremely versatile, coming complete with PL, Canon EF and Sony E-Mounts. Mounts for other systems will need to be purchased separately, although NiSi will provide shims to ensure consistent filmmaking.

The number ‘3’ simply means ‘third generation’ and also refers to the range’s three key design characteristics, i.e. high resolution, low dispersion and retro flare.

2. What exactly is the relationship between the NiSi F3 range and Bokkelux?

Let’s be clear; the F3 prime lenses belong solely to NiSi since the company took ownership from Bokkelux. Since this time, NiSi are pleased to report that numerous improvements have been made and, being based on the original Bokkelux design, NiSi’s optical and mechanical design engineering experts have re-optimised some key elements to deliver the excellent new range.

These include:

Improved accuracy with assembly and improved supply chain for the optical elements
Improved physical attributes, i.e. the weight and calibre of the lenses have been improved with reliability and user assurance being of primary importance
Along with these significant improvements, NiSi has developed a new and innovative design for an optical accessory for F3 range. Once this is completed, we will release information, but you can be assured that it will meet the unique needs for many filmmakers.

3. OK, so what about the relationship between the NiSi F3, Kinefinity and Mavo Prime?

That’s simple, really. Kinefinity is partner of NiSi. Our specialist engineers have modified the industrial design for the Mavo Prime while retaining the same performance and quality. The new F3 range and Mavo Primes are manufactured exclusively by NiSi.

4. Will the NiSi F3 Primes come with both imperial and metric markings?

Absolutely. Markings will be in feet and metres.

5. What are the details for the F3 sales warranty policy and can we expect additions to the focal lengths this year?

NiSi is currently in the process of setting up special service centres, specifically for sales warranties. Bases will be in Europe, North America and in South Asia. We will make further announcements about the details of the certified sales warranty suppliers after the third quarter. You can expect to see 18mm and 135mm primes coming to light in the second half of this year.

F3 Lens Range Highlights – (a recap):

Covers Full-Frame Format
PL Mount/Canon EF Mount/Sony E-Mount
T2.0-T22 Click-less Aperture Range
Ultra Low Dispersion
High Resolution
Retro Cinema Style Housing
12-Blade Iris
Same physical attributes across the lens range
Geared Focus and Iris Control Rings
Pure Performance in Film

Launching in 25mm T2.1, 35mm T2.0, 50mm T2.0, 75mm T2.0 and 100mm CF T2.0 formats, the new range of premium lenses from NiSi debuted during NAB 2018, which took place between the 7th -12th April in Las Vegas.

Compatibility

The new F3 prime lenses cover full-frame format which is compatible with ARRI Alexia LF, Red Monstro VV, Panavision DXL2, SONY Venice and Canon C700FF, along with ‘future-proofing’ for other cameras that we will see arriving in the future. They cover 46.5mm format sensors, allowing filmmakers full creative control, opening up a wide range of cinematic possibilities.

Pure Performance in Film

The new F3 lenses offer filmmakers advanced resolution and perfect dispersion control, image contrast and flare; all optimised by their stylish, retro housing.

The entire F3 series of lenses share the same physical attributes, allowing for the simple and time-efficient fitting of lens accessories, along with the native ‘Sensed presence’ technology, which provides users with the ability to shoot with a beautiful bokeh. The native apochromatic optical design results in excellent ratio/axial dispersion performance, giving a pure and natural colour, with almost no purple/green fringing within focus and in bokeh.

NEW: NiSi Announces Allure Mist Black/White Filters

Allure Mist White – Highlights:

* Reduces highlights and lowers contrast* Softens wrinkles and blemishes

Allure Mist Black – Highlights:

* Reduces overall flare and contrast* Produces mist effect

To coincide with the exciting launch of F3 full-frame prime cine lenses, NiSi has also released Allure Mist White/Black and anamorphic filters; adding to their already burgeoning range of cinema filters.

Available in sizes 4×5.65”, 6.6×6.6”, the new filters will further assist filmmakers to capture their intended artistic expression with every shoot.

Preorders for individual filters available from May 7th 2018

Special kit launch

Along with individual lenses, NiSi has announced that all lenses will be available as a specially designed F3 kit, which will include a complete set of lenses, from 25-100mm, along with a NiSi 4×5.65 Allure Mist white 1/4 filter, a NiSi 4×5.65 Allure Mist Black 1/4 filter and a NiSi 4×5.65 Polarizer, all packaged in a tough NiSi hardshell case.

Articles: Digital Photography Review (dpreview.com)

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SLR Magic announces new MicroPrime CINE lenses for Sony E-Mount

11 Apr

Credit: SLR Magic

Lens maker SLR Magic is exhibiting a new lineup of cinema lenses at NAB 2018 this year. The new MicroPrime CINE lenses are designed for the Sony E-Mount, and there are five of them in all. The first four—a 25mm T1.5, 35mm T1.3, 50mm T1.2, and 75mm T1.5—will all be released in May, and a fifth 18mm T2.9 will be ready “by Q3 2018.”

According to SLR Magic, the MicroPrime lenses are designed with an image circle large enough to cover full-frame sensors, a similar weight distribution across the lineup for easy lens swapping when using a gimbal, and an internal focusing mechanism. The company also says the focus gears were designed with “a throw slightly longer than photographic lenses but still manageable when a motorized follow focus is not used.”

The image below shows a basic set of specs for all five of the MicroPrime CINE lenses, although there is one mistake in the table: the lineup features an 82mm filter thread across all five lenses, not 77mm as the image below shows.

Basic spec sheet for the 25mm T1.5, 35mm T1.3, 50mm T1.2, and 75mm T1.5 MicroPrime CINE lenses. Credit: SLR Magic

SLR Magic is exhibiting the first four MicroPrimes at NAB 2018 this week, but if you’re not in Vegas you can expect to see these lenses at authorized SLR Magic dealers starting in May for $ 800 each. The MicroPrime CINE 18mm T2.9 will join its siblings sometime in Q3 2018.

Press Release

The SLR Magic MicroPrime CINE lens series in E-mount

Hong Kong, China (April 9^th, 2018) – SLR Magic will present a new family of CINE lenses, MicroPrime series, to the public in the upcoming NAB Show 2018 in Las Vegas at the SLR Magic booth (Upper Central Hall, C-2663). The SLR Magic MicroPrime CINE 25mm T1.5, 35mm T1.3, 50mm T1.2, and 75mm T1.5 are the first lenses of the family.

The SLR Magic MicroPrime CINE lenses are designed to be compact and robust for use in a professional setting. The MicroPrime CINE lenses have a large image circle that covers up to full frame. Witness markings on the lenses are all calibrated for the accuracy professionals need in the field. Each lens is balanced, with a similar weight distribution so that recalibration is not required upon switching lenses when using a 3-axis gimbal. Lens gears are built-in with a throw slightly longer than photographic lenses but still manageable when a motorized follow focus is not used. Each lens features an internal focusing mechanism, and comes with a standard 85mm diameter suitable for matte box use. In the situation where a smaller setup is required, each lenses also comes with a 82mm filter thread for use with 82mm Fixed ND filters.

We place the highest priority on the development of our lenses, to fulfill the demands of professional cinematographers.

SLR Magic is exhibiting the first lenses of the MicroPrime cinema series at the 2018 NAB Show. The SLR Magic stand will be in upper central hall (C-2663) during the show, which is to be held in Las Vegas from the 9^thto the 12^thof April 2018.

The SLR Magic MicroPrime CINE 25mm T1.5, 35mm T1.3, 50mm T1.2, and 75mm T1.5 (MSRP: $ 800 US) will be available from authorized SLR Magic dealers starting in May 2018. The SLR Magic 18mm T2.9 will be ready by Q3 2018.

Articles: Digital Photography Review (dpreview.com)

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SLR Magic announces CINE 18mm F2.8 lens for Sony E-Mount

14 Sep

SLR Magic has released a new model in its series of manual-focus lenses for full-frame Sony E-Mount cameras: the SLR Magic CINE 18mm F2.8 wide angle. The optical design of the lens incorporates 10 elements in 8 groups and allows for a minimum focus distance of just 20cm (~7.9 inches).

The new lens features a black anodized body, a low weight of only 445 grams and compact dimensions, making it an interesting option for use on gimbals and other video-centric camera supports. It also comes with a 62mm filter thread. The aperture features a manually controlled diaphragm and 9 blades, and allows you to stop down from F2.8 to F16.

The SLR Magic line-up now covers a range from 18 to 75mm, with the latest addition looking like a good option for landscape and architectural photographers, in addition to video-shooters.

The SLR Magic CINE 18mm F2.8 will be available through authorized retailers starting in October, and will set you back $ 500.

Articles: Digital Photography Review (dpreview.com)

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Sigma announces pricing and availability of 14mm and 135mm T2 Cine Prime lenses

14 Jul


The 14mm T2.0 will cost $ 4999 when it starts shipping later this month.	The 135mm T2.0 will also ship in late July, for the same price.

Sigma has announced pricing and availability for its new Cine Prime lenses. The 14mm and 135mm T2 primes will be available later this month for $ 4999 each, or as part of two and seven-lens kits for $ 10,499 and $ 24,799 respectively.

Press Release:

Sigma Announces Pricing and Availability for the 14mm and 135mm T2 Cine Prime Lenses, Shipping This July

Full-frame sensor compatible, high-speed prime lenses bring Sigma’s esteemed Art lens technology to cinema cameras; the 14mm T2 FF and 135mm T2 FF begin shipping late July for a retail price of $ 4,999.00 USD each

Ronkonkoma, NY – July 13, 2017 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, today announced the availability of two brand new cine lenses: the Sigma 14mm T2 FF and 135mm T2 FF, which will both begin shipping late July 2017. Compatible with full-frame image sensors, these high-speed cine prime lenses are available for EF, E and PL mounts. They are available as individual lenses for a retail price of $ 4,999.00 USD each, or as part of two and seven lens sets for retail prices of $ 10,499.00 USD and $ 24,799.00 USD respectively.

Go fast and wide with the Sigma 14mm T2 Cine Prime
The Sigma 14mm T2 FF Cine Prime lens is the world’s first and only to offer an incredibly fast T2 at this ultra-wide angle focal length for full frame sensors. Bringing remarkable optical performance to the art of capturing moving images, the Sigma 14mm T2 offers cinematographers the opportunity for robust cinematic expression.

Resolving power like nothing ever seen before with the Sigma 135mm T2 Cine Prime
The Sigma 135mm T2 FF Cine Prime offers astonishing rendering performance unmatched by almost any lens on the market. Retaining the optical performance of Sigma’s original Art lens for the still photographer, this exceptional lens enables cinematographers to enjoy the highest image quality for shooting movies.

Both lenses offer the following benefits and capabilities:

Bright, T2 full frame maximum aperture
Capable of resolving up to 8K
Available in Canon EF, Sony E & PL Mounts
180-degree focus rotation

The Sigma 14mm and 135mm lenses are fully compatible with full frame sensors. The addition of these lenses to the Sigma cine lineup expands the FF High Speed Prime Line to a total of seven lenses, from a super-wide 14mm to a brilliantly sharp telephoto 135mm.

Pricing for individual lenses and lens sets
The newest cine lens offerings from Sigma will be available individually as well as in sets for the following retail prices.

Individual lenses:
Sigma 14mm T2 FF – $ 4,999.00 USD
Sigma 135mm T2 FF – $ 4,999.00 USD

Two lens set with case:
Sigma 14mm T2 FF, 135mm T2 FF and a protective lens carrying case – $ 10,499.00 USD

Seven lens set with two cases:
Sigma 14mm T2 FF, 20mm T1.5 FF, 24mm T1.5 FF, 35mm T1.5 FF, 50mm T1.5 FF, 85mm T1.5 FF, 135mm T2 FF, and two protective lens carrying cases – $ 24,799.00 USD

The Sigma 14mm T2 FF and 135mm T2 FF Shipping Late July
The Cine 14mm and 135mm lenses and sets will begin shipping late July 2017 for EF, E and PL mounts.

Articles: Digital Photography Review (dpreview.com)

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Hands-on with the Fujinon MK50-135mm T2.9 cine lens

22 Jun

Hands-on: Fujinon MK50-135mm T2.9 cine lens

The Fujinon MK50-135mm T2.9 cinema lens is the second in Fujifilm’s new line of MK lenses designed for Super 35 and APS-C cameras. MK lenses are designed to appeal to the emerging production market, offering features and quality typically associated with more expensive cinema lenses at a price point that’s attractive to budget-conscious cinematographers. The MK lenses are based on Fujifilm’s excellent Cabrio line of cinema lenses (which cost $ 15K and up), and share the same coatings as well as a similar mechanical build, but at a cost just under $ 4,000 they’re more accessible to a lot of users.

I reviewed the first MK lens, the MK18-55mm T2.9, a few months ago and really liked it. Since the two lenses are designed to work as a set, they’re basically indistinguishable except for focal length, so if you want to read my detailed thoughts on how the MK lenses perform I recommend reading my earlier review, which for all practical purposes applies to both lenses.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

If you’re not yet familiar with the MK cine lenses, you may be surprised to learn that they use Sony E-mount. Why? Fujifilm wants to address the growing market of independent filmmakers, small production houses, and other professionals who use the Super 35 and APS-C formats. Sony has a huge presence in this market thanks to cameras like the FS7, FS5, and even a-series mirrorless, and many users of these cameras adapt other lenses, such as Canon EF-mount, to their cameras.

What about Fujifilm’s own mirrorless cameras? The company has announced plans to release MK lenses in X-mount later this year so that Fujifilm shooters can take advantage of them as well.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

When I tested the MK18-55mm lens earlier this year, I did so with a Sony FS7, a Super 35mm camera mounted on a shoulder rig with rails, a follow focus, and an accessory EVF. However, Fujifilm emphasizes that the MK lenses are also designed for use on similarly sized APS-C sensors, so this time I decided to go that route. Unfortunately, during our short window of time with the lens I didn’t have access to a rig for a full setup, so I was limited to basic tripod and handheld use.

When mounted the Sony a6500, it’s easy to see how large the MK50-135mm is compared to the diminutive camera. While it’s technically possible to shoot this combination handheld, it’s not terribly practical thanks to its large size and all mechanical controls.

The great news is that the video I captured looked beautiful, and the lens appears to deliver the same quality that we saw on the MK18-55mm.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

I also tried using the MK50-135mm with the full frame Sony a7R II in Super 35mm mode. The size mismatch is a bit less obvious than with the a6500, however it’s no more practical for shooting handheld. That’s not necessarily a bad thing – chances are good that if you’re considering this type of lens, you’re planning to rig it in some way.

In fact, this lens works very well with both the a6500 and a7R II (in Super 35 mode), and would be a great lens to pair with either of them. With a basic set of rails and a follow focus, the setup would work just as effectively as with a dedicated video camera.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

One of the reasons for using cinema lenses is that they often come in matched sets, and this is the case with the MK lenses. The MK18-55mm and MK50-135mm are physically identical, including T2.9 iris, gearing, dimensions, and even weight (right down to the gram). They’re also matched optically, meaning they can be interchanged seamlessly without changing the look of the resulting footage.

Why are matched lenses important? In a cine setup the lens is often mounted on rails, and likely has attachments such as a follow focus or matte box. Ideally, you don’t want to have to readjust every accessory each time you change lenses, and having physically matched lenses means you can swap them in and out very quickly without needing to readjust everything. The MK lenses are so similar that I would have a difficult time telling them apart without seeing the zoom range printed on the lens barrel.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

When it comes to build quality, the MK50-135mm is very solid thanks to its all metal construction. As with most cinema lenses, it’s completely mechanical, and every movement feels well damped. It’s a pleasure to use and gives one the sense of using a high quality piece of precision equipment.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

One thing that sets the MK50-135mm apart from most still photo lenses is the large 200 degree focus rotation angle. This offers a lot more precision than you’ll get with the shorter focus throw of a DSLR lens, or the unpredictability of focus-by-wire, so it’s easy to make very fine adjustments as your subject moves. The lens includes very precise distance marks, in both English and metric units. This is particularly helpful if you have a separate focus puller who is following the action in a blocked scene.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

The MK50-135mm also has a parfocal design, meaning it can maintain precise focus while adjusting the focal length. As still photographers, we don’t usually worry about this capability since it’s easy to refocus after zooming. In contrast, when shooting video you may actually intend to zoom while recording, and you want to maintain focus on your subject through the entire transition. Losing focus during a zoom can ruin the shot.

I was really impressed with the parfocal performance on the first MK lens, and the MK50-135mm performed to the same standard.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

Another common property of cinema lenses is that they resist breathing, a phenomena that causes the lens’s field of view to change slightly when focus is adjusted. This becomes particularly important when you’re doing something like racking focus between two subjects; you don’t want the field of view of the scene to change when you do this as it can be very distracting. The MK50-135mm suppresses lens breathing very effectively, which is not surprising given that the MK18-55mm did so as well.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

Based on a couple days of use, I really like the Fujinon MK50-135mm lens, which – not surprisingly – is the same conclusion I came to after testing the MK18-55mm version. They’re both beautiful pieces of equipment that are a joy to use, and which deliver excellent results. The fact that there are now two of them spanning the entire 18-135mm range makes me want the set even more. If you’re a videographer using an E-mount camera, it’s really tough to go wrong with these lenses.

The MK lenses should also appeal to Fujifilm X-mount users. In particular, we found the Fujifilm X-T2 to be a credible 4K video camera, especially since it’s capable of outputting F-Log gamma over its HDMI port. We don’t yet know the exact release date for the X-mount versions, but Fujifilm tells us it will be later this year, and we saw prototypes at NAB in April.

The MK50-135mm T2.9 will be available in E-mount in mid-July for a price of $ 3,999, which is just slightly higher than the $ 3,799 MK18-55mm.

Articles: Digital Photography Review (dpreview.com)

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Fujifilm’s MK 50-135mm cine lens will arrive in July for $4000

03 Jun

Fujifilm has officially launched the MK 50-135mm T2.9 cinema lens aimed at emerging filmmakers, giving it a mid-July release and $ 4000/£3300 price tag. It will be available initially in the Sony E-mount, but the company says it is working on a version for its own X-mount cameras that will go on sale before the end of the year. It was first announced back in February alongside an 18-55mm T2.9.

The DSLR and CSC stills lenses that many videographers use suffer from shifting focus and centring during zooming, according to Fujifilm, and ‘breathing’ often alters the magnification of the view as focus distances change. If the background changes size in the frame as focus is being pulled, or the subject goes out of focus during a zoom, the fluidity of the sequence can be destroyed. This new lens is intended to replace these still lenses, with their unsuitable characteristics, so that photographers using small cameras can make professional-looking films.

The Fujinon 18-55mm T2.9

The new lens matches the three-ring layout and 82mm filter thread size of the existing Fujinon 18-55mm T2.9 so it should be easy to switch between the two, and with both lenses videographers will have most popular focal lengths covered. The lenses are designed to work with APS-C and Super 35mm sized sensors, so will provide similar angles of view to a 75-200mm on a full frame system.

For more information see the Fujifilm website.

Sample footage

Press release

Fujifilm launches the FUJINON MK50-135mm T2.9 telephoto zoom cinema lens with advanced optical performance, ultra-compact and lightweight design, and excellent affordability

FUJIFILM Corporation (President: Kenji Sukeno) will release the FUJINON MK50-135mm T2.9 (MK50-135mm) telephoto zoom cinema lens in July 2017. The MK50-135mm has a focal length of 50-135mm and can be combined with the FUJINON MK18-55mm T2.9 (MK18-55mm) standard zoom lens, that was released in March 2017, to form a kit that covers the most frequently-used focal lengths of 18mm to 135mm, accommodating a broader variety of conditions.

The rapid growth in popularity of movies made by emerging cinematographers in recent years, including corporate and commercial movies on the internet and other venues, has increased the opportunities for shooting movies using cinema and regular digital cameras, and it boosts demand for high-performance cinema lenses that deliver high resolution and advanced scene-depicting capability. For filming such materials, interchangeable lenses for digital cameras are often used instead of cinema camera lenses as they are more affordable and mobile. However, these lenses are designed primarily for shooting still images, and therefore prone to problems such as focus shift and optical axis shift while zooming, and so on.

In response, Fujifilm has developed the MK series of cinema lenses that resolve these issues while still offering advanced optical performance and an ultra-compact and lightweight design – all at an affordable price. The MK18-55mm that was launched in March this year has been popular among emerging cinematographers who praise it for its edge-to-edge sharpness and ease of handling thanks to its compact and lightweight design.

The new MK50-135mm is a telephoto zoom lens that covers the focal length from 50mm to 135mm. It has the maximum T-stop value of 2.9*1 across the entire zoom range, enabling to shoot with a shallow depth-of-field with beautiful bokeh. The lens is compatible with E-mount*2 cameras with the Super 35mm*3 / APS-C sensor. It incorporates the benefits of short flange focal distance*4 into optical design to the maximum extent to achieve advanced optical performance while maintaining a compact and lightweight design. The lens design is optimized for shooting movies, minimizing focal and optical axis shift while zooming and lens breathing (change of angle of view during focusing) – negative traits that are typically observed in still lenses for digital cameras. The lens also features three rings to enable manual and independent adjustment of focus, zoom and iris (aperture), all with the gear pitch*5 of 0.8M (module). The focus ring can rotate fully up to 200 degrees to facilitate precise one-handed focusing. These features make the lenses comfortable to operate.

The MK50-135mm can be combined with the MK18-55mm to form a compact and light weight kit that covers the most frequently-used focal lengths between 18mm and 135mm, accommodating a variety of subject matters including landscape, architecture and portraiture. They share the common front element diameter, filter thread and three-ring gear positions, allowing users to share the use of the same accessories such as matte box and filters. This eliminates the need to re-adjust accessory positions when changing between lenses, streamlining operations in frontline video production.

The X Mount versions of MK lenses (with the focal lengths of 18-55mm and 50-135mm) for Fujifilm’s X Series of digital cameras (APS-C sensor) are currently under development, and due to be released by the end of this year.

FUJINON lenses offered by Fujifilm have been used at movie / CM / TV production sites around the world for their advanced scene-depicting capability. Tapping into its optical design, high-precision processing and assembly technologies that have been nurtured over the years in the cutting-edge field of video production, Fujifilm will continue to expand its lens line-up to meet the diverse needs at the video production industry.

*1 T-stop value is an index that indicates brightness of a lens based on its F-stop value and transmission rate. The smaller the value, the greater amount of light the lens transmits.
*2 Lens mount format developed by SONY Corporation
*3 Super 35mm is a standard format for motion film cameras using 35mm film stock, and refers to a sensor size used in many cinema cameras.
*4 Distance from lens mounting reference plane to sensor
*5 Distance between gear teeth

1. Product name, release date, pricing
Product name: FUJINON MK50-135mm T2.9
Release date: Mid July 2017
Expected user price: GBP £3,300* (ex VAT)
*At today’s GBP/EURO exchange rate

2. Main product features
Advanced optical performance, packed into a compact and lightweight lens barrel
The MK50-135mm covers the focal length of 50mm to 135mm and when combined with the MK18-55mm standard zoom lens, they form a kit that covers 18mm to 135mm, the most frequently-used focal length in video production.

The MK50-135mm supports E-mount cameras with Super 35mm / APS-C sensor. It achieves advanced optical performance despite its compact and lightweight body, weighing just 980g, by incorporating the benefits of short flange focal distance into optical design.

The MK50-135mm has T2.9 speed across the entire zoom range which allows shooting with a shallow depth-of-field and eliminates the need to re-adjust lighting.

The MK50-135mm offers advanced edge-to-edge optical performance and low distortion*6 and is designed to match the color temperature of FUJINON HK Premier, ZK Cabrio and XK Cabrio lenses to simplify color grading*7 when using a combination of lenses.

*6 Distortion refers to a phenomenon in which an image formed through a lens becomes partially contracted or extended at the edges.
*7 Processes of correcting colors during video editing

Resolving issues associated with using interchangeable lenses for still digital cameras in video production

The front focusing group of lens elements and the zooming group of lens elements are driven independently from one another to suppress focus shift while zooming, eliminating the need to re-focus after zooming in or out. The optical and mechanical approach means there is no time lag as seen in an electrical control system.

The use of the front inner-focusing system controls lens breathing (change of angle of view during focusing) to achieve smooth focusing.

By using design and manufacturing technologies developed for FUJINON HK, ZK and XK Cine lenses, optical axis shift is minimized while zooming, eliminating the need to re-compose the shot when the angle of view is changed.

Comfortable operation as expected of a dedicated video lens
The focus ring features a rotation of a full 200 degrees to allow precise focusing even when shooting with a shallow depth-of-field.

The lens features three rings to enable independent adjustment of focus, zoom and iris. The fully manual mechanism of all three rings enable intuitive operation that often cannot be attained with electrical mechanism which typically causes time lag.

All the operation rings have a gear pitch of 0.8M, the same as all other FUJINON cine lenses, which allows the use of any standard third party accessories for video production such as Follow Focus.

The iris operation ring has a click-free seamless adjustment which enables smooth, precise exposure adjustment while also preventing noise and camera shake caused by clicking.

Standardized MK series design

The MK50-135mm shares the same front diameter of 85mm and filter thread of 82mm with the MK18-55mm,allowing users to use the same matte boxes and filters on both lenses.

The two lenses also share the same dimensions and three-ring gear positions, eliminating the need to re-adjust accessory positions when changing between them.

The MK50-135mm offers a macro mechanism with the minimum object distance*8 of 0.85m (wide angle-end), broadening the types of scenes that can be covered with a single lens.

The MK50-135mm features a Flange Focal Distance adjustment function*9 to achieve optimum camera and lens matching, bringing out the full optical performance of the lens.

*8 Distance from the image-forming plane to a subject
*9 The position of lens’s image-forming plane can be adjusted according to each camera’s flange focal distance (distance from lens mounting reference plane to sensor).

Articles: Digital Photography Review (dpreview.com)

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New Zeiss CP.3 XD Cine lens line stores metadata, is aimed at budget filmmakers

27 Apr

Zeiss announced a new family of cinema primes geared toward ‘low budget’ productions at the NAB 2017 show in Las Vegas. The CP.3 XD Cine line includes a total of ten lenses that cover full frame. Meant to replace the CP.2 line, these new lenses are more compact than their predecessors.

The ‘XD’ in the name stands for ‘eXtended Data’, which refers to the lenses’ ability to store metadata like distortion and shading info when shooting – info that can greatly aide a visual effects artist in post. You can read more about it here. According to Zeiss production manager Christophe Casenave:

“Cine lenses that provide metadata are relatively expensive and, up until now, distortion and shading had to be manually measured – a time-consuming and expensive process. With ZEISS eXtended Data, we are offering Hollywood technology for everyone, providing small film teams with new creative opportunities.”

While this lens line is aimed toward the cost-conscience filmmaker, to the average consumer, prices will likely still seem expensive – each XD lens will likely cost between $ 5000 and $ 8000. However Zeiss is also offering non-XD versions of the CP.3 line for slightly less cash.

Several of the non-XD lenses will be available as soon as June and July, while the eXtended Data versions will ship in the fall.

Press release:

New ZEISS CP.3 XD Cine Lens Family: “Hollywood Technology for Everyone”

The ten compact prime lenses provide metadata and enable the correction of distortion and shading. For the first time, even low-budget productions can employ visual effects.

OBERKOCHEN/Germany, 24/04/2017.

No matter if it is Star Wars, Harry Potter or Avatar: these days, just about every film features special effects. For many small film productions, having visual effects in their movie would be a dream come true. Unfortunately, making the image fit the look of the footage has required expensive tools – until now. At the NAB Show in Las Vegas, ZEISS presented new metadata technology that makes this possible: the company has equipped its new ZEISS CP.3 XD compact lens family with ZEISS eXtended Data.

ZEISS eXtended Data supports and enhances /i-Technology

What exactly is this? “ZEISS eXtended Data is the first metadata technology which stores the lens distortion and shading – for every single frame,” explains Christophe Casenave, Product Manager at ZEISS. “Moreover, all /i-Technology metadata are recorded, including the focus distance, aperture value and depth of field, which is supported by most cameras.” This makes the technology ideal for working with visual effects: by using the metadata, it just takes a few clicks to modify the image generated on the computer to fit the lens characteristics, and to then splice it together with the footage to create a realistic image. Distortion and shading can be corrected or even amplified in post-production.

“It used to be that only big blockbusters could take this approach,” says Casenave. “Cine lenses that provide metadata are relatively expensive and, up until now, distortion and shading had to be manually measured – a time-consuming and expensive process.” However, since ZEISS has incorporated the technology into its compact CP.3 XD cine lens family, low-budget productions can now take the same approach to creating their own special effects. “With ZEISS eXtended Data, we are offering Hollywood technology for everyone, providing small film teams with new creative opportunities.”

An end-to-end solution: cooperation with Ambient and Pomfort

With the ZEISS CP.3 XD, ZEISS not only offers the lenses with metadata, but has also given thought to storage and processing. It has teamed up with partners in the industry: the company Ambient has developed the MasterLockit Plus system together with ZEISS. It records all metadata along with a time code in case the technology is not supported by the camera. “This way truly everyone can work with ZEISS eXtended Data, no matter what equipment they use,” says Casenave.

Thanks to the cooperation with the software developer Pomfort, distortion and shading can be modified on the set in real-time using the Pomfort tool LiveGrade Pro. The film crew already gets a sense of what the final look will be during the shoot. The film clips and lens data can be consolidated and organized with Silverstack, Pomfort’s file manager.

ZEISS plans to further expand the new metadata technology in the future. “Our customers will then be able to upgrade to the new version, making the CP.3 XD a long-term investment,” says Casenave.

Compact and light-weight

In addition to the metadata, filmmakers have even more reasons to get excited about the new lens family: the ten prime lenses between 15 and 135 millimeters cover full-frame. As is typical for ZEISS, the image has a clean, crisp look, and ZEISS says the image quality is excellent. “These lenses deliver outstanding results, even in light situations with a large dynamic range, i.e. highlights and shadows within the same scene,” says Casenave. The maximum speed of the seven focal lengths between 25 and 135 millimeters is T2.1, the 15, 18 and 21 millimeter lenses have a speed of T2.9. With a front diameter of 95 millimeters, the lenses are light-weight and compact. They are particularly well-suited for hand-held filming or shooting with gimbals, Steadicam or drones. ZEISS has also improved focusing: the manual focus is now noticeably smoother. According to ZEISS, it is comparable with the ZEISS Master Primes and can also be operated with a small motor. The focus rotation angle is 300°. The lenses are equipped with an interchangeable mount so that they can be used on almost any camera. In addition to the ZEISS CP.3 XD, there is also a version available without metadata: the ZEISS CP.3.

Price and availability

Initially, a limited number of ZEISS CP.3 XD and CP.3 lenses will be available at dealers.

ZEISS CP.3 XD

Focal length	Recommended retail price (EUR/USD)	Available from
15mm/T2.9 XD	6,400 Euro / 7,490 USD	September
18mm/T2.9 XD	5,800 Euro / 6,690 USD	September
21mm/T2.9 XD	5,000 Euro / 5,790 USD	September
25mm/T2.1 XD	5,000 Euro / 5,790 USD	September
28mm/T2.1 XD	5,000 Euro / 5,790 USD	October
35mm/T2.1 XD	5,000 Euro / 5,790 USD	September
50mm/T2.1 XD	5,000 Euro / 5,790 USD	September
85mm/T2.1 XD	5,000 Euro / 5,790 USD	September
100mm/T2.1 XD	5,800 Euro / 6,690 USD	September
135mm/T2.1 XD	6,400 Euro / 7,490 USD	September

ZEISS CP.3

Focal length	Recommended retail price (EUR/USD)	Available from
15mm/T2.9	4,900 Euro / 6,090 USD	September
18mm/T2.9	4,300 Euro / 5,290 USD	July
21mm/T2.9	3,500 Euro / 4,390 USD	June
25mm/T2,1	3,500 Euro / 4,390 USD	June
28mm/T2.1	3,500 Euro / 4,390 USD	October
35mm/T2.1	3,500 Euro / 4,390 USD	June
50mm/T2.1	3,500 Euro / 4,390 USD	June
85mm/T2.1	3.500 Euro / 4.390 USD	June
100mm/T2.1	4,300 Euro / 5,290 USD	September
135mm/T2.1	4,900 Euro / 6,090 USD	September

Articles: Digital Photography Review (dpreview.com)

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SLR Magic introduces E-mount Cine 25mm F1.4

25 Apr

SLR Magic will be showing off a new prime for videographers at NAB: the Cine 25mm F1.4. Costing $ 400 and available at the end of May, the 25mm F1.4 will be available in E-mount and will be compatible with both APS-C and full-frame Sony cameras. The lens is a quite compact 78.4mm / 3.05in and weighs 520g / 18.34oz. A manually controlled aperture uses 13 blades. NAB attendees can take a look at the lens in person at SLR Magic’s booth.

Press Release:

Hong Kong, China (April 24, 2017) – SLR Magic extends it’s full frame lens lineup with the SLR Magic CINE 25mm F1.4 wide angle lens. This product will be officially introduced during the upcoming 2017 NAB Show in the Las Vegas Convention Center. There will be a demo at the SLR Magic booth (Central Hall, C2663) during the NAB Show from 24 – 27th April 2017.

The field of view of the SLR Magic CINE 25mm F1.4 opens up many new creative composition opportunities, particularly in the fields of interior, architectural and landscape cinematography and photography. The compact size of the SLR Magic CINE 25mm F1.4 wide angle lens also makes it a good choice of lens to be used with gimbals.

We place our highest priority in the development on our lenses to fulfill the demands of professional cinematographers and photographers. The design and build of the SLR Magic CINE 25mm F1.4 is solid and reliable.

SLR Magic is currently looking for volunteers to test the SLR MAGIC CINE 25mm F1.4 E mount lens at a special price. If interested:

1 ) Send an email to support@slrmagic.com with the subject ” SLR MAGIC CINE 25mm F1.4 lens volunteer + (your name)”.

2 ) Include sample videos/photos or link to photo/video reviews you have done in the past.

THE SLR Magic CINE 25mm F1.4 (MSRP: $ 399 US) will be available from authorized SLR Magic dealers by the end of May, 2017.

Technical Data

SLR Magic CINE 25mm F1.4

Lens Type: Fast standard lens

Compatible Cameras: FE-mount and E-mount cameras

Optical Design: 11 elements in 9 groups

Distance Settings:

Distance range: 0.25m to ?, combined scale meter/feet

Aperture: Manually controlled diaphragm, 13 aperture blades, Lowest value 16.

Filter Mount: Internal thread for 52mm filter; filter mount does not rotate.

Surface Finish: Black anodised

Dimensions:

Length to bayonet mount: approx. 78.40mm (approx. 3.05in)

Largest diameter: approx. 64.64mm (approx. 2.54in)

Weight: approx. 520g (approx. 18.34oz)

Articles: Digital Photography Review (dpreview.com)

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Samyang announces VDSLR 16MM T2.6 cine lens

21 Apr

Lens maker Samyang has launched the new VDSLR 16mm T2.6 cine lens, which is designed for video shooting with uncoupled gear rings with T numbers. This latest launch takes the South Korean manufacturer’s number of cine lenses up to 19. 13 of those are designed for use with DSLRs, varying from an 8mm fisheye up to a 135mm telephoto, and six for mirrorless system cameras, ranging from 8 to 50mm in focal length.

The new 16mm T2.6 will be available globally from June at a price of 599 Euros in Europe (USD 640). No information on US pricing has been released yet.

Press Release:

Samyang Introduces VDSLR 16mm T2.6

April 21^st, 2017, Seoul, South Korea – Global optics brand, Samyang Optics (http://www.samyanglensglobal.com) announce a new 16mm T2.6 cine lens, designed specifically for video shooting with uncoupled gear rings with T numbers. This launch adds one more lens to the existing 18 cine lenses for DSLR and mirrorless cameras.

Since 2012, Samyang Optics has released its cine lenses based on the needs of professional videographers. Satisfied with the image quality of Samyang lenses, videographers continuously requested for cine lenses and as an answer, Samyang launched cine lens line up.

This new launch expands the cine lens line up to a total of 19 lenses: 13 for DSLR cameras varying from 8mm fisheye to 135mm telephoto and 6 for mirrorless cameras varying from 8mm to 50mm.

Inheriting the renowned image quality of Samyang’s wide-angle lenses, the 16mm angle of view is commonly used by directors of photography around the globe for its versatile usage for wide-angled emotional scenes in film and videos. Along with the existing 14mm, 20mm and 24mm, this new lens will realise the delicate changes in the scenes.

As a ‘Total Imaging Solution’ optics brand, Samyang Optics now offers 51 lenses: 2 premium XP photo lenses, 2 autofocus lenses, 19 manual focus photo lenses, 19 cine lenses and 9 professional cinema lenses specifically under XEEN brand.

Launched to complete the Samyang cine lens line up, this new 16mm T2.6 will be available globally from June and will carry a suggested retail price of EUR 599. For more information, visit the Samyang social media channels.

Articles: Digital Photography Review (dpreview.com)

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Sigma announces 14mm T2 and 135mm T2 Cine Prime lenses

21 Apr

Sigma Cine FF High Speed 14mm T2

Just in time for NAB, Sigma has announced an expansion to its Cine Prime line of lenses, adding the Cine High Speed 14mm T2 and Cine FF High Speed 135mm T2.

The Cine FF High Speed 14mm T2 and Cine FF High Speed 135mm T2 lenses are designed for use with full frame cameras, and join five existing prime lenses in Sigma’s Cine Prime product line. With the addition of these lenses, Sigma now offers cine prime lenses covering a very useful focal length range of 14mm to 135mm.

As with the other lenses in the set, both new lenses are available PL-mount, EF-mount, and E-mount.

Sigma Cine FF High Speed 135mm T2

In addition to the lenses, Sigma is now offering customers the option to order their cine lenses in metric or imperial measurements, as well as standard or full luminous paint markings. Sigma says that existing customers can swap from one measurement system to another for a fee.

Finally, Sigma is now offering its mount conversion services for owners of its cine lenses, allowing users to switch lenses between EF- and E-mounts.

We’re planning to get some hands-on time with these lenses next week at NAB next week and will share our experience with you.

Press release:

NAB 2017: Sigma Unveils Two New Cine Prime Lenses; Adds New Product Options?

Sigma introduces brand new Sigma Cine FF High Speed 14mm T2 and 135mm T2 Prime Lenses

April 20, 2017 – Sigma Corporation of America, a leading DSLR lens, camera, flash and accessory manufacturer, today announced its brand new Cine FF High Speed 14mm T2 and 135mm T2 prime lenses and new Cine Prime and Zoom product options.

Sigma is expanding its Cine Prime line to include two brand new lenses: the Sigma Cine FF High Speed 14mm T2 and the Sigma Cine FF High Speed 135mm T2. The high-performance Sigma Cine Prime product line, which now includes the following focal lengths and apertures – 14mm T2, 20mm T1.5, 24mm T1.5, 35mm T1.5, 50mm T1.5, 85mm T1.5 and 135mm T2 – is compatible with the latest full-frame camera sensor technology. Compact in design, the Cine Prime line offers outstanding optical performance and is ready for higher resolution shooting (up to 6K-8K). Both the 14mm T2 and 135mm T2, along with the previously announced Sigma Cine Prime and Zoom lenses, will be available for test-shooting at the Sigma NAB booth C11525.

In addition to this expansion of its Cine Lens Prime line, Sigma is now offering customers the option to order Cine lenses in metric or imperial measurements as well as standard or full luminous paint on markings. Existing customers who wish to swap from one measurement system to the other can do so for a paid fee.

Also, Sigma is now offering its sought-after Mount Conversion Services for the Cine lens customers. The highly successful program ensures continued return on investment for customers, allowing them to convert their lenses to and from EF and E mounts.

You can read the full Sigma announcement including tech specs here as well as download the new Sigma Cine 14mm T2 and 135mm T2 product images here.

Articles: Digital Photography Review (dpreview.com)

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