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).

Movcam has released its Dual-Axis Wireless Control System, and what strikes you right away is its modular design and ease of use. The SCU-1 handset features a small LCD screen, which instantly gives the status of critical parameters such as channel and signal strength. Calibrating motors is a one-touch operation.

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.

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.

The SXT is the third generation of ALEXA from ARRI. This blog concentrates on the wireless capabilities of the SXT Plus. The Plus has electronics for wireless lens functions built in, so motors and cables are all you need to build the camera.

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.

We recently had the opportunity to test Canon's latest addition to their hugely popular line of CINE-SERVO zoom lenses for Super 35-format sensors, the new 11-55mm T2.95-3.95. We spent time with the PL-mount version; however, the lens is available in Canon's newer RF mount as well.

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.

The ZEISS Milvus Super Speed lenses represent all new lens designs in the Milvus family of lenses. The full frame lenses are all f/1.4 (hence the super speed designation), and are available in 25mm, 35mm, 50mm and 85mm focal lengths. They can be purchased individually or as a four lens set with either Canon EF or Nikon F mounts.