NAB 2011 – Lenses

PL-Mount and otherwise, cine-style lenses are proliferating.

Two Illumina S35mm T1.3 Primes.

More lenses! Crikey, RED builds an affordable PL-mount camera, Sony and Panasonic bring out even more affordable PL-capable cameras, and suddenly there are PL-mount (or interchangeable-mount) lenses everywhere!

The complete set of five Illumina S35mm T1.3 primes: $33,000.

This batch of five fast, rather affordable PL-mount primes is from Luma Tech, which has them built by the Leningrad Optical & Mechanical Corporation (LOMO) using Schott glass from Germany. All the lenses cover S35mm / 5K sensors, and all are f/1.2 and T1.3. Nice, big, bright marking, smooth mechanical action, and the two I looked through made crisp, clean images with attractive bokeh.

Canon’s two new PL-mount cine zooms, on an Alexa and an F35.

Canon introduced two new PL-mount cine zooms. The 14.5-60mm T2.6 holds its max aperture through the zoom range, while the 30-300mm T2.9 has a slight bit of ramping past 200mm or so. The images they made on the show floor looked fine, with a pleasing bokeh. Mechanically, the controls have the perfect amount of fluid-like damping, with no stiction yet with a consistent and predictable resistance.

Canon 30-300mm T2.9 zoom, right (“dumb”) side view.

Canon 14.5-60mm T/2.6 zoom, left (operator) side view.

One thing to note: the operator-side markings are white, designed to be illuminated by a camera-mounted light. The “dumb” side marking are glow-in-the-dark green, so the 1st AC relegated to the dark side of the camera still has a chance to see his focus settings.

Zeiss CP.2 prime with native MFT (micro four thirds) mount on a Panasonic AG-AF100.

Zeiss CP.2 prime with native E-mount on a Sony NEX-FS100.

Carl Zeiss expanded the CP.2 Prime lineup, adding native MFT (Panasonic / Olympus) and E (Sony) mount to the existing PL, Canon EF, and Nikon F mounts.

Cooke 100mm T2.8 Panchro on an NEX-FS100 via PL-mount/E-mount adapter.

Cooke now has three ranges of PL-mount lenses, with varying max apertures and prices to match:
• PANCHRO lenses open up to T2.8; a 25mm costs $7,400.
• S4/i lenses open up to T2; a 25mm costs $17,400.
• S5/i lenses open up to T1.4; a 25mm costs $20,700.

Cooke 5/i T1.4 primes, with gold trim and internally-lit focus scales.

The S4/i and S5/i lenses add Cooke’s /i lens metadata system, and the S5/i adds internally-lit, dimmable focusing scales.

Of course, I should also mention the following shipping (or nearly so) product lines:

UniqOptics (previewed at NAB 2009).
Schneider Cine Xenars (glimpsed at NAB 2010).
Leica Summilux-C (unveiled at the 2009 Band Pro Open House).

Finally, those looking for full tilt/shift controls on a cine camera have an alternative to the hard-to-get Arri Shift & Tilt system:

Horseman TS-Pro tilt/shift bellows system makes any compatible camera a view/technical camera.

Yep, Komamura, maker of the Horseman line of technical cameras, now has a bellows system for cine cameras! Band Pro carries it in the Americas, Europe, and Israel.

FTC Disclosure

I attended NAB 2011 on a press pass, which saved me the registration fee and the bother of using one of the many free registration codes offered by vendors. I paid for my own transport, meals, and hotel.

No material connection exists between myself and the National Association of Broadcasters; aside from the press pass, NAB has not influenced me with any compensation to encourage favorable coverage.

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PVC Staff
Adam Wilt has been working off and on in film and video for the past thirty years, while paying the bills writing software for animation, automation, broadcast graphics, and real-time control for companies including Abekas,…

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