I was at GoKinema in Gothenburg for the day and saw some of the exhibitors ranging from lights to cameras. I got to see some of the lenses in the EOS Cinema line. A bunch of the primes as well as a few of the zooms. I obviously didn’t have time to shoot with anything but they feel really well built and solid. The Zooms come in PL and EF mount and the Primes are EF only.
Metabones has released a new adapter for use on the Sony NEX (E / mirrorless) mount. According to the manufacturer it “It increases maximum aperture by 1 stop (hence its name), increases MTF and has a focal length multiplier of 0.71x”.
Canon just announced another 2 lenses to add to their EOS Cine line. A 14mm T3.1 and a 135mm T2.2.
From Canon: “The Cinema EOS System is designed to support creative expression, and the launch of these new wide-angle and telephoto primes means our EF Cinema Lens line-up now offers the broadest focal length range in its class¹,” said Kieran Magee, Marketing Director, Professional Imaging, Canon Europe. “These new lenses truly reflect the vision that the Cinema EOS System is based on – combining industry-leading technologies with professionally-optimised designs so videographers can tell stories exactly as they intended to.”
Designed to work with Canon’s EF mount, each model incorporates cutting-edge optical technologies, including anomalous dispersion glass and large diameter aspherical lenses to deliver high resolution images, as well as Canon’s latest broadcast lens coatings to reduce ghosting and flare. Additionally, an 11-blade aperture diaphragm provides beautifully soft background blur when a subject is isolated from its background.
Both lenses utilise the company’s unsurpassed heritage in optical design and include electronic contacts to enable communication between the camera and lens. Each lens features a full-frame image circle that offers compatibility with both 35mm and industry-standard Super 35mm formats, allowing videographers the flexibility to pair either lens with Canon’s range of Cinema EOS System cameras or EOS Digital SLRs.
Designed for the working professional, both new models feature a high-grade professional design offering advanced operability. Compact form factors are optimised for motion picture production, with unified front lens diameter and gear positions that provide easy operability – eliminating the need to adjust rig set-ups when changing lenses mid-shoot. Widespread compatibility with standard third party accessories also offers outstanding flexibility during use, whether on-set or in the field.
Both the CN-E 14mm T3.1 L F and the CN-E 135mm T2.2 L feature markings on angled surfaces on either side of the lens barrel, making focus and aperture settings easy to read from behind or either side of the camera. A focus rotation angle of approximately 300 degrees facilitates precise focusing adjustments during shooting, while the focus markings can be switched from metric to imperial labelling as required. Innovative glass constructions also counter barrel expansion and contraction to avoid temperature-induced marking discrepancies, making each lens ideal for use in a range of different conditions.
We recently bought the new Vocas 430 Mattebox announced at NAB this year. It replaced one of our old Chrosziel Clip-on mattebox.
We wanted to be able to use 4×5.65 as well as 5×5 filters and even a few older 4×4 filter we have laying around. We also wanted the option to stack up to 3 filters. As we shoot both broadcast as well as “big sensor” stuff we also wanted use be able to use with and without rods (as a clip-on) The 430 looked like a goood choice will lots of different options.
First impression is that it is really well built. It feels like it will last for tough production work in the field. I like all the knobs and different latches.
One of the first things I also notice is that the filter trays sit solidly in place without having to tighten the screws. This is a big improvement over other “boxes” I’ve used, where unless you tighten the tray it falls right through. This may of course change after wear-and-tear, but so far after about 10 days use they sit solidly in place; a big plus! I’d still tighten the screws but it nice that it stays in there before you do… 🙂
Another smart feature is the “internal eyebrows”. They’ll serve to flag out high angle/low angle lights even if you don’t have the french flag attached. They are easily adjusted with a red knob on the side.
The box has 2 stages (1 rotatable) and an additional slot in the frame for an extra 4×5.65 filter. This additional filter snaps into place with a little spring loaded tab. This is a nice feature that gives you that sometimes needed 3rd filter. The 2 slots allow for 4×4, 4×5.65 and 5.65×5.65, 5×5 filter trays, most trays are combination one fitting ie 4×4 and 4×5.65. I would have liked to option to possibly add a 4th filter in the rear by adding a 3rd filter stage.
There are a lot of different optional add-ons to this box. Attachment points for side flags and a top flag. Lots of different step down rings, using either as a clip-on or with rails. I’ve only used it as a clip-on so far but we also purchased the swing away bracket for use with our Sony F3 or other cinema cameras. The swing away has a height adjustment bracket with is handy, I wish they would have made the adjustment span bigger for even greater vertical movement.
The different step down rings lets you clip this on to a variety of broadcast and cinema glass. According to Vocas website you can go as wide as the Canon HJ14 (4,3mm broadcast lens or equivalent of 10.6mm on Super35) using 2 4×5.65 trays or 1 4×4 tray. If you use a 5×5 you can rotate that. Pretty wide… 🙂
You can also get the adjustable cuff which you tighten around the lens to stop light from entering. The mattebox clamps tightly with the little snap closure on the left side of the box. I must say I really like these snap closures.
Negatives…? Not really so far. Perhaps that the filter in the hood in held in place by 2 small “lips” on on side and the spring tab on the other. Time will tell how secure this 3rd filter is seated, but my initial feeling is good. I’ve been so busy lately with broadcast stuff I haven’t had the time to mount this on our Sony F3. I’ll get to it at some point and post some images. I think you should definitely check this out if you’re looking for a 3 filter mattebox!
Usual disclaimer: Writing this review on my own behalf, we paid full price for our Mattebox. Below are a few pictures of the first-time-go-around.
Cameras are being released like there is no tomorrow. You’d think 1080p was a thing of the past by looking at the news from NAB this year. Its all about 4K and what camera will deliver it for you.
Glass is the way to go. Glass that covers big sensors will work for you for years and years to come. I think the release of the new CP2 Super Speed lenses from Zeiss look like a really nice buy right now. 300 degree focus throw, 14 blade iris, and sharp clean glass. Zeiss is Zeiss and they only put they’re name on what they believe in. They have the interchangeable mounts for use with m0st cameras, including PL, EF, E, F, MFT. So Alexa one day and HDSLR the other, just what the industry looks like. The new 70-200 T2.9 compact zoom also looks really nice.
It’s killing me not to be at NAB to have a look/feel of these new lenses. IBC feels tooooo far off.
New products announcements are coming one after the other from all directions week before NAB. Here is a short intro to a new lens from Fujinon, the 19-90, T2.9 “Cabrio”. It is a PL mount lens with a zoom rocker. It covers all the way to full 5K Epic and will work with the Sony F3 using the zoom hand grip/handle.
Retail price: $ 38k
Well worth a read. Provided by Abel Cine Tech!