zeiss

Focus ramping: when T-stops go bad

Focus ramping: when T-stops go bad

Years ago, while assisting on a sitcom, I helped the director of photography shoot exposure tests on all of our zooms. The closeups were darker than expected, and she wanted…

Cine Gear: Zeiss Shows Off Supreme Prime Lenses and Talks Workshops

Cine Gear: Zeiss Shows Off Supreme Prime Lenses and Talks Workshops

It was not all about the gear at the Zeiss booth on the Paramount lot during Cine Gear 2019. Not only did Zeiss show off their new large format Supreme…

Four lenses: a visual comparison, part 2

Four lenses: a visual comparison, part 2

It’s time to name names. I’m going to tell you what lenses you’ve been looking at for the last few days, and offer my…

ZEISS Otus 1.4/100: a new addition to a filmmaker’s video set

ZEISS Otus 1.4/100: a new addition to a filmmaker’s video set

With the introduction of the ZEISS Otus 1.4/100, the Otus Video set from ZEISS has now a choice of four focal lengths, 28, 55, 85 and 100mm, all…

Three lenses: a look at bokeh, depth of field and geometry

Three lenses: a look at bokeh, depth of field and geometry

Some people take time off during the holidays. I borrow a half million dollars worth of camera and lenses and shoot whatever comes to mind. It’s a sickness…

Lens dynamic range: coatings, contrast and color

Lens dynamic range: coatings, contrast and color

There was a time in the distant past when I thought of lenses as transparent glass. Film and digital sensors have dynamic range, but lenses are merely optics. Right? Wrong…

Signature Primes vs. Ultra Primes: The Pixel-Peeper’s Guide

Signature Primes vs. Ultra Primes: The Pixel-Peeper’s Guide

For nine months I’ve been working periodically as a trainer for the ARRI Academy. Recently we added an Alexa LF to the class, accompanied by a set of…

Casting the look of a camera into glass

Casting the look of a camera into glass

Recently I had the pleasure of meeting with ARRI’s senior color designer, and I asked him the question I like to ask all camera manufacturers: “Why?&#8221…

Large sensor lens coverage: taking old glass to the “breaking” point

Large sensor lens coverage: taking old glass to the “breaking” point

 Old glass and large sensors need a lot of testing. The results may surprise you. In this article I took a look at how older S35 lenses performed on a…

ZEISS ZX1: the world’s first full frame camera with Adobe Lightroom CC inside

ZEISS ZX1: the world’s first full frame camera with Adobe Lightroom CC inside

Ugly, huge and strange, the new ZEISS ZX1 is the first camera in the world to come with a subscription plan. Adobe Lightroom CC is inside, so that you can…

Sony FE 24mm F1.4 GM: a compact, lightweight and de-clickable lens

Sony FE 24mm F1.4 GM: a compact, lightweight and de-clickable lens

Designed for a wide range of multi-media creators, the new Sony FE 24mm F1.4 GM offers accuracy and quiet operation for both stills and movie shooting, and includes…

RED showcases DSMC2 camera brain with three sensor options at IBC 2018

RED showcases DSMC2 camera brain with three sensor options at IBC 2018

RED’s “one brain, three sensors” solution will be the highlight of the company’s presence at IBC 2018: the MONSTRO 8K VV, HELIUM 8K S35 and GEMINI 5K S35…

ZEISS Supreme Prime: 13 high-end cinema lenses at Cine Gear Expo

ZEISS Supreme Prime: 13 high-end cinema lenses at Cine Gear Expo

Debuting at Cine Gear Expo, the ZEISS Supreme Prime family is a cinematographer’s dream:  13 lenses with fixed focal lengths between 15 and 200 millimeters, the majority with a…

NAB 2018: Things ‘n’ Stuff

NAB 2018: Things ‘n’ Stuff

Herewith I collect interesting things I haven’t written about already: mostly cameras and support kit, but there’s other stuff, too… Kinefinity Chinese camera company Kinefinity…

PNW Lens Summit, May 5th, Portland OR USA

PNW Lens Summit, May 5th, Portland OR USA

Quick note: if you’re coming to Portland OR for the PNW Lens Summit, you can get 20% off lodging at The Mark Spencer Hotel (no, not that Mark…