Thursday sees the conclusion of NAB 2013, and it’s been just as eventful as any of the previous years, if not more so. 4k (aka UltraHD) has cemented itself as more than just hype, and the entire show seemed to revolve around creating bigger and better images. Our wrap up will examine how each element of the imagemaking process advanced this year, and we’ll do it installments.
Miguel Goodbar of Adorama Rental Co. talks with Jean-Marc Bouchut of Thales Angenieux about the new PL-mount cinema lenses optimized for 5K video, including the Optimo 28-340 T3.2 and the Optimo 19.5-94 T2.6, as well as the Optimo Servo Unit for zoom and iris control for run-and-gun shooting.
Jean-Marc also shares some of the French company’s storied history in the development of cinema.
Carl Zeiss lenses have since time immemorial been synonymous with quality build and wonderful sharpness and fidelity, and they don’t show any signs of letting up.
Miguel Goodbar met with Richard Schleuning of Zeiss at NAB to discuss the latest range of prime and zoom lenses for photo and filmmaking coming from the company.
The ZE and ZF mount 25mm f/2 and ultrawide 15mm f/2.8 for DSLRs come in Nikon and Canon mounts. The five new CP.2 cinema lenses, with interchangeable mounts, including the 15mm full frame, fill out the range of cinema-optimized lenses. The “Superspeed” 35mm f/1.5, 50mm f/1.5 and 85mm f/1.5, allow for new creative possibilities. And the first CP.2 zoom lens, a small and light 70-200mm which covers the full frame sensor, makes its debut.
We just got in a cool lens from Nikon, a 135mm f/2. The killer feature is Nikon’s exclusive Defocus Image Control technology, a second control ring which allows you to emphasize the degree of spherical aberration in front of or behind the plane of focus. The lens is extremely fast f/2.0 and has nine aperture blades for pleasing bokeh.
It has a built in and super compact, metal, retractable lens hood, which you simply pull out to extend. It has a nice grippy surface and a substantial feeling in the hands, which sets it apart from the normal plasticky lens hoods that so often degrades the look and feel of an otherwise substantial lens.
Needless to say, I can’t wait to take this lens out for a test drive.
The fast Canon EF 600mm f/4.0L IS USM prime lens is a thing of beauty. Featuring a lightweight magnesium alloy and titanium construction, with 9 aperture blades for pleasing bokeh, the super telephoto prime lens also has integrated IS. There are only two places to rent this lens in New York City, and guess who has the best price? Our rates are: day – $150, each additional day – $125, weekend – $175, and week – $475. For wildlife and sports photographers, this lens can’t be beat.
So, I have to say that I’m a huge fan of these Schneider lenses. A few people might even call it ‘waxing poetic’ when I describe them. I’m psyched for the Leicas, but these definitely have a place in my heart.
Schneider introduced their Xenar lenses at last year’s NAB, but this year they are showing updated models. The glass is the same, but the housing has changed a bit, with the mechanics of the housing allowing smoother lens travel.
What I like about these lenses is the versatility. They come in PL or EF mounts, and the glass is extremely sharp and virtually no breathing at all when I racked from the foreground to the pretty model in the background. I also like the price-point: $22K for a 5-lens set!! You get the following lengths: 25mm, 35mm, 50mm, 75mm and 95mm, with F-stops ranging from T2.0-2.2.
To boot, they cover 5K on RED and super 35mm sensors. At their booth they had a 35mm on the new Sony F3… what a pair!
Dave Goldgaber is one of ARC’s resident video specialists. He is available for hire as a DP, AC or technical adviser.