October 9, 2020 at 12:06AM, Edited October 9, 12:06AM. Are your go-to lenses different than those above? The Xenon FF series was introduced way back in 2013 but the lenses still hold up today. The only feature I'm personally interested on though, and so far none of these manufacturers is offering it, is a fake anamorphic aperture plate (oval plate). I usually found myself working with a 50mm prime and a zoom lens, preferably a Canon 70-200mm. The Tokina Vista Primes have a 46.7mm image circle, so not only does it have full-frame covered, but RED, ARRI LF, and Sony VENICE. On most major film sets, the cinematographer will have a wide range of options when it comes to lenses, but this is only because he or she has the budget to do so. Well, don’t worry. The company's Zero-D line comes in 9mm, 12mm, and 15mm focal lengths with stellar image performance. Their APS-C equivalent cine lenses cost just $350 each, so I expect the FF ones to be affordable too. While I prefer to use the 21mm for most of my work, the 28mm is a happy medium between the 21mm and the 35mm. We'll be looking at other categories too. There's not a lot we don't like about the Zeiss Compact Primes. Full-frame Sony Alpha mirrorless cameras are popular among indie filmmakers and YouTube creators because of their compact design, low light capabilities, and Log shooting that allows you to push the quality of the image in post. Many filmmakers elect to simply rent their lenses for every project. It’s not too wide and not too narrow. With all of this in mind, let’s look at two lenses you should always use regardless of genre. Meike has said that it's going to release its cine primes for full frame next year. It's 100+ pages on what you need to know to make beautiful, inexpensive movies using a DSLR. The technology behind the glass is incredibly impressive, and a high-quality 50mm lens won’t kill your budget. On some lenses, it's non-existent and creates an unappealing digital look. Subscribe to receive the free PDF! Our 2020 Holiday Gift Guide for Filmmakers. The Meike ones would be true mirrorless designs. What this does for the filmmaker is give them more light to work with, especially in low light situations. I personally still use my plastic Canon 50mm f1.8 lens (about $80) with great results. For this article, we looked at only cine lenses that provide at least full-frame (36 x 24mm) coverage and are available in E-mount. Similar to the Samyang Cine DSX line, the optics are based on still lenses but with cine-friendly housing that includes standard iris and focus gears. Each focal length is available in imperial or metric markings. Meike is also starting to develop full-frame cine primes for Sony E, and Sigma has an FF Zoom in a 24-35mm T2.2. Both lenses are parfocal, have reduced breathing, and image shift along with a de-clicked, 9-blade iris that produces a pleasing bokeh. So if you're looking for something different in terms of look, these might be it. It bears repeating: the nifty fifty is one lens everyone should own or use on each production. 2 Dream Gear Loadouts for Documentary Filmmaking, Bending the Rules of the Three-Act Structure, The Ins and Outs of Hollywood Film Distribution. I absolutely love 50mm lenses on super 35 chip cameras. the lenses have a 300° focus throw, as well as a matching 100mm front diameter and 95mm thread, eliminating the need to have multiple accessory setups on set. If that's what you're going for, by all means. If you want even more of a bargain, you can scoop up the original Xeen lenses for around $1,800 each, which are also available in Sony E-mount. It's very cost effective not having to spend tens of thousands on a set of primes. But you want a lens with some throw. There are others that are more expensive but are great for renting, like the Fujinon Premista, Leitz Zoom, Panavision Primo 70 series or Primo Artiste, as well as the ARRI Signature Primes and Zoom as well as the ALTA Switar lenses. Like the DSX line, the Xeen CF series is an updated version of the original Xeen lenses with a more compact design and improved optics. Featuring Smooth Motion Optics (SMO) resulting in no axial shift and no focus shift while... Zeiss Compact Prime Cine Lenses. All Rights Reserved. The Best Black Friday Deals for Filmmakers. Now, don't get these confused with the Vista One lenses. Give us your feedback in the comments below. Like the Zeiss and Schneider lenses, there's a lot to like about the Vista Primes. Now, don't get these confused with the Vista One lenses. For traditional documentaries a zoom lens is still a necessity. 75mm – Telephoto Lens. Two Must-Have Primes. For the third, we’ll look at an option for documentary film work and an option for indie film work. Do you own your lenses or rent them? Top image: behind the scenes of Birdman via Fox Searchlight. Do you not have the cash to purchase any of these previously mentioned lenses? Perhaps some text was dropped when translating article to website? We're talking the Vista Primes which are equally fantastic in terms of image quality and build. Cinematographer Emmanuel Lubezski shot the film using the ARRI Alexa 65 paired mostly with a 24mm lens, which is equivalent to a 12mm on a full-frame (36 x 24mm) sensor. Too bad because its a great lens. Is This the Greatest Real-Time Single-Take Feature Ever? Meaning, you don't need an adapter to mount them on the camera. The ergonomics, the look it produces, the robustness of the lens. Those are only available in a set and have a single coat that limits the flaring. Get your FREE copy of the eBook called "astonishingly detailed and useful" by Filmmaker Magazine! What's the Best Cinema Camera for Under 10K? lighting, composition, filtration, color grading, .... nahhhh, October 6, 2020 at 12:33AM, Edited October 6, 12:34AM. This fast and flexible wide-angle cine zoom is designed for full-frame E-mount cinema cameras. Those are only available in a set and have a single coat that limits the flaring. Plus, it’s a great lens to use on a Steadicam or shoulder rig. ndustry standard 0.8 mod gears, a 300° focus throw, and a fast aperture. Xeen provides 200°. Sony E-Mount AF Cine Lenses. Panasonic 25mm f/1.7. Less common is the telephoto or “long” lens in filmmaking. As for color, they're going to be a bit warmer... more like a Cooke lens than a Zeiss. We will approach those lenses in a different article. Plus, we wanted to look at lenses that are somewhat inexpensive. Your review of Tokina Vista Prime lenses is incomplete--no "what we like"/"what we don't like". Both zooms are color matched, have industry standard 0.8 mod gears, a 300° focus throw, and a fast aperture.