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Lenses / Optics Posts

This year’s Cine Gear Expo was definitely one of the most eventful ones. From new camera announcements to the latest in lighting technology and more, there was a little something for everyone to get excited about. In that vein, we’ve rounded up some of the most relevant coverage — both from our own specialists as well as our friends over at Newsshooter. Watch the video above, featuring Erik Naso (Newsshooter), Jem Schofield (theC47) and our own Jeff Lee for a great round up and discussion of Cine Gear 2017 highlights, then continue below for specific product videos.

…continue reading Cine Gear 2017 Roundup

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The Canon EF-S 17-55mm and Canon EF-L 24-105mm lenses have been a staple in documentary film productions since the advent of DSLR cameras for video. They are compact and light lenses that cover a great range and pack easily into small configurations. While they fall into a different category of any other lens in the series, I felt it was important to look at them both as a point of comparison to the other cinema zooms, but also because we will continue to use them on their own as well as in addition to the other lenses in the series.

…continue reading Behind the Lens: Canon EF-S 17-55mm & EF-L 24-105mm Zooms

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The other day I had the chance to get a peek at the new Fujinon MK50-135 zoom lens. This lens compliments the recently-announced MK18-55 (watch Matt Porwoll’s video on the 18-55, part of his Behind the Lens documentary zoom series). The 50-135 shares many of the attributes of its wide angle companion: it is parfocal, meaning that it maintains focus through its entire zoom range, and as well maintains a T 2.9 stop from wide to tight. Macro focusing – down to 2′ 9″ – and a back focus adjustment are available as well. Watch my video above to get a closer look at the MK50-135 as well as some test footage.

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Fujinon released the Cabrio Compact lens series back in 2012 as a lightweight option to their impressive Premier line of cinema lenses. The Cabrio line includes the 14-35mm, 19-90mm, 20-120mm, 25-300mm and 85-300mm. Despite being smaller and lighter, they are still members of the elite “Premier” series of Fujinon lenses, offering exceptional optical performance across the board. Let’s take a closer look at the Fujinon Cabrio 19-90.

…continue reading Behind the Lens: Fujinon Cabrio 19-90mm Zoom

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Zeiss has had a line of reasonably priced cinema zooms for a few years now, but the introduction of the Zeiss LWZ.3 21-100mm takes things up a notch. The 21-100 covers a much longer focal length range than any of their other lenses, and is more than a pound lighter than its predecessors. The 21-100 will cover most of the documentary shooting situations you’ll find yourself in. But unlike the other Zeiss cinema zooms, the 21-100 only covers Super 35, so you can’t use this on your full frame cameras. Let’s take a closer look at the aspects of this lens.

…continue reading Behind the Lens: Zeiss LWZ.3 21-100mm Zoom

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Canon’s CN-E Compact Zooms have been a great addition to documentary cinematography since their release five years ago. The image quality is superb and is a great choice for higher-end productions. They offer a comfortable size and weight, with a fast, consistent T2.8 aperture. This pair of lenses offers a great focal length range that will cover you in most shooting situations. Let’s take a deep dive into the look and feel of these two lenses.

…continue reading Behind the Lens: Canon CN-E 15.5-47 & 30-105 Compact Zooms

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I caught up with Les Zellan of ZGC and Cooke Optics to hear all about their new S7/i “full-frame plus” lenses, a new front-anamorphic zoom, and a new variant of the Anamorphic/i primes with modified coatings to provoke more cinematic flare. Stay tuned through the end of the video to see the new line of Panchro/i lenses, Cooke’s own reproductions of the classic Speed Panchro’s from the golden age of cinema.

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