Two New Cinema Lens Lines From ARRI
When we say new here, we mean a new product, but ARRI is being very transparent in saying they’ve made some minor modifications to previous lens lines that are still in demand. This is great, however, as having a modern, available to purchase option over sourcing old, used lenses can be a big plus.
First we have AFLA Anamorphic Primes:
- Full frame (including Alexa LF Open Gate and RED Monstro)
- LPL Mount
- 2x squeeze
- T2.5 (except for the 190mm which is T3)
- Available in 40mm, 47mm, 60mm, 72mm, 90mm, 108mm, 145mm, and 190mm
- Based on the Master Anamorphic Primes
Then we have the Moviecam Primes:
- Available in 16mm, 20mm, 24mm, 28mm, 35mm, 40mm, 50mm, 60mm, 85mm, 100mm, and 135mm
- Full frame (Alexa Open Gate)
- All new housing
- LDS-2 lens data
- Mostly T2
- Same vintage optics in new lens housings
Panasonic Varicam 35 With the Leica R 35mm and 50mm Lenses
The Varicam doesn’t seem to get as much attention, but it clearly produces an excellent image. Here are some recent tests of it paired with some vintage Leica R lenses:
Paul Maheke, Mauve, Jim and John: A Film Shot on Canon FD Lenses and the Pocket 4K
This film was shot exclusively on Canon FD lenses (15, 17, 24, 35, 50, 85, 135) and the camera was the Blackmagic Pocket Cinema Camera 4K. I don’t know if a speedbooster was employed.
A Look at Some Canon FD L Lenses
It’s a shame the price increases we’re seeing on Canon FD lenses. They’re a nice alternative to Leica R and Contax Zeiss lenses for some use cases.