Fujifilm today launched two exciting new cinema zoom lenses: the FUJINON MK18-55mm T2.9 and MK50-135mm T2.9. The two lenses are the first of the new MK series and look to be a great fit for emerging shooters and DPs who need coverage of the most useful focal length ranges for Sony E-mount Super35-sized sensor cameras (similar to the APS-C sensor size in the DSLR world). Both lenses will also be available later in Fuji’s X-mount, used in their popular mirrorless bodies. For a detailed look at the new 18-55mm lens, be sure to check out the video above which features real-world test footage towards the end. You can read Fujifilm’s official press release for more details on both lenses.
…continue reading First Look: Fujifilm MK Series Cinema Lenses
Choosing the make of the lenses you use on a project is one of many ways to create a look. The quality and characteristics of a lens add to the flavor of the image, and is one of the many ways to impart your look as a DP. It’s one of my favorite choices a DP can make on a project: which make of lenses will I use for this specific project?
One of the elements that adds to the characteristics of this choice is the contrast and color rendition in a lens, so I wanted to take a deeper look at ARRI/ZEISS primes. Both Master Primes and Ultra Primes have been a staple in our industry for a long time and complement each other extremely well. While there are differences between them that I’ll discuss, the lenses can in fact be interwoven.
…continue reading A Closer Look: ARRI/ZEISS Master Primes and Ultra Primes
As the year officially draws to a close, it’s time for our annual round-up of the most popular CineTechnica blog posts over the last 12 months. It’s been a busy 2016, and as usual a wide range of topics was represented – including new product announcements, comparison charts, workflow how-tos, custom scene files, and more.
Our Top 15 blogs are listed below in no particular order. Make sure to check them out, and let us know in the comments what you’d like to see us cover in 2017!
…continue reading Top Blogs of 2016
Most cinema cameras today can work with lenses designed for cinema use, as well as those designed for still photography, but there are still important differences between these lenses. I teamed up with Snehal Patel from Zeiss to answer the question “what makes a lens a cinema lens”? In the video, we cover the wide range of Zeiss Cinema Lenses, which feature interchangeable shimmable mounts that allow them to work with just about every camera. We also demonstrate how to shim a lens and what that means. Zeiss cinema lenses also have full frame coverage, and we give a demonstration of what that means as well. Finally we discuss what make a lens a ‘super speed’ lens and what that looks like.
Watch the video above to learn all about Zeiss Cinema Lenses or jump to a specific topic using the links below.
…continue reading At the Bench: An Inside Look at Zeiss Cinema Lenses
On Saturday, October 8, AbelCine held its first Fall Tech Expo. Taking place in our Chicago location on the Cinespace Studios lot, the expo featured a number of manufacturers displaying new gear for attendees to get their hands on. In addition, throughout the day, multiple raffles were held, along with presentations from manufacturer experts and our technical specialists on the showroom stage. Thank you again to all the manufacturers that participated as well to everyone who attended – we had a record turnout!
…continue reading Chicago Fall Tech Expo Recap
As IBC 2016 draws closer, the internet is abuzz with rumors and announcements of new products to be introduced at this year’s show. One of the first official product announcements, published today, was the introduction of Zeiss’s newest offering in the lightweight zoom category, the LWZ.3 21-100mm T2.9-3.9.
The new 21-100mm lens weighs in at just over four pounds and features a speed of T2.9 on the wide end, which linearly ramps to around T3.9 when fully zoomed in. It is a very smooth and fairly subtle transition as you zoom in, one that is almost unseen in these type of variable aperture lenses. The minimum focus distance for the lens is right at about 2.9 feet with a generous 300 degrees of focus rotation, making this an extremely flexible option for both narrative and documentary shooters. Designed to match with both Ultra and Master primes, this lens will make a nice addition to round out a kit and provide the flexibility lacking in prime lenses’ single, fixed-focal lengths.
…continue reading Zeiss IBC 2016 Announcement: Lightweight Zoom 21-100mm
ARRI’s line of Electronic Control Systems are popular accessories to use with many cameras, especially the ALEXA Mini. This is because ARRI’s wireless control unit, the WCU-4, not only controls motors attached directly to the Mini, but with the right license, the WCU-4 can also change settings on the camera. The WCU-4 works directly with the ALEXA Mini, as well as other ALEXA Plus cameras (ALEXA Plus, ALEXA XT Plus, and ALEXA SXT), or with their UMC-4 receiver, which means you can use it for a wide variety of scenarios.
In this video series, I will break down how to connect the WCU-4 with the Mini, and how to remote control the camera. Then in the second video, I give a demonstration of how to create lens mapping files to work with non-LDS or Cooke /i lenses. Check out the videos and let us know what you think in the comments section.
…continue reading At the Bench: ARRI WCU-4 Wireless Control Unit