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Intro image for article ZEISS Supreme Prime Radiance Sample Footage
Tutorials & Guides
Recently, I had the opportunity to try out the ZEISS Supreme Prime Radiance lenses for myself and shoot some demo footage. With these lenses, ZEISS has modified the lens coating to give a slightly warmer look with the ability to create, and most importantly control, flares all while maintaining the sharpness and contrast that ZEISS is known for.
Intro image for article Exploring the Canon Lens Ecosystem
Tutorials & Guides
As a DP, when you get a phone call for a project, one of the first things you need to decide is what camera and lenses you’re going to use. Knowing what the content of the project is often drives both the shooting style and look of the piece.
Intro image for article The Unique Character of ZEISS Supreme Radiance
Tech News
Since their introduction in 2018, ZEISS full format Supreme Primes have been a hit with filmmakers. Now, they have announced a new variant, with a look that is a bit of a departure from what we've come to expect from ZEISS. Enter the Supreme Prime Radiance.
Intro image for article At the Bench: Canon Sumire Lenses In-Depth
Tutorials & Guides
Recently, I had the opportunity to take an in-depth look at the Canon Sumire Primes. I tested the 24mm T1.5, 35mm T1.5, and 50mm T1.3.
Intro image for article ZEISS eXtended Data: Lens Metadata Gets Smarter
Tutorials & Guides
Beginning with the ARRI/ZEISS LDS Ultra Primes in 2001 and Cooke's S4/i primes in 2004-2005, many cinema lenses have been able to transmit a lens’ focal length, serial number, current aperture, and the current focus distance via digital encoders wired to the focus and iris rings on their barrels. Many of these metadata-enabled lenses have also featured a multi-pin Lemo port to allow for this data stream to be sent directly to an on-camera monitor (such as the Starlite series of displays from Transvideo). The information would then be shown as an overlay, along with picture, to aid First ACs in focus-pulling and disseminating lens info throughout the set.
Intro image for article Arthur & Nick Albert Talk Sigma FF Cine Lenses on Sneaky Pete
Client Profiles
Cinematographer Arthur Albert and his son, Nick Albert, a Camera Operator, worked together on the last season of Sneaky Pete. Recently, they spoke to us about the project and why they chose Sigma FF Primes.
Intro image for article At the Bench: First Look at the Fujinon Premista 28-100mm Zoom
Tutorials & Guides
Recently I had the opportunity to take a first look at the brand new Fujinon Premista 28-100mm T2.9 zoom lens. One of the few full frame zoom lenses, this lens will also have a sister lens released by the end of 2019, the Premista 80-250mm T2.9-3.5.
Intro image for article NAB 2019: Fujinon Premista Cinema Zoom Lenses
Tech News
I got the chance to stop by Fujinon’s booth at NAB 2019 and spoke with Tom Fletcher about Fujinon’s brand new line of full format cinema zoom lenses, called Premista. The first two lenses in this series are a 28-100 T2.9 and a 80-250mm, which is a constant T2.9 from 80-200mm and then gradually ramps up to a T3.5 from 201-250mm.
Intro image for article First Look: Canon Sumire PL Prime Lenses
Tech News
Canon announced their new Sumire Cinema Prime lenses today. This new set of full format PL-mount lenses builds on their popular Cinema Primes, which are exclusively in EF mount.