24 TVBEurope The Workflow Broadcast control for cine lenses
Fujinon’s 85-300m, 19-90 and new 14-35mm Cabrio lenses with detachable ENG-style servo control
technology. A higher resolution sensor will either require a higher lens resolution, or a lens able to cover a larger area. We’ve already seen 8K capture technologies tested, and if these come into the mainstream, lens resolution will have to increase exponentially. The Red Dragon sensor captures 6K, but over an image circle of 33.5mm, larger than the image circle of Super35, which is 31.5mm. There are a limited range of cine lenses that cover that sort of image size, and the ones that do, don’t have the ability to resolve 6K. If the Red trend continues, we’ll see lenses that have to cover an increasingly larger and more demanding sensor.” The Cine-Xenar III lenses
have a 31.5mm image circle suitable for sensors of up to about 5.5K, but Kanabar claims they “bear comparison to ARRI/Zeiss Ultra Primes or Cooke S4s. They have a similar build, size, weight, and image quality, but they are less than half the price. They also have that certain ‘look’ to them that is so cherished by many.” Before being appointed
distributors Prokit tested the range. “We knew from our experience with Red, just how demanding the lens requirements for 4K sensors can be. Glass that looks great on film, or a 2/3-inch sensor, gave unpredictable results on a digital chip. With the Cine- Xenars we were looking for glass that would resolve around 200lp/mm in the centre, be free of chromatic aberrations, and not breathe while focussing. Most of all, we were after glass that gave consistent, repeatable results on a digital sensor. We had calls from clients who, after upgrading their camera, were dissatisfied with the results they were getting from their 35mm stills glass. The Cine Xenars seemed to be a good option,” he says.
Schneider-Kreuznach has also
developed a new range of full- frame primes, both for DSLR cameras with full-frame sensors
Tee shot: Hewitt used a Polecam and high-speed Antelope Pico with the new Kowa 5mm wide-angle lens
NEW ENGadapters from cmotion allow operators to use familiar broadcast controllers for focus and zoom when using external motors mounted on cine-style lenses. The adapters create an interface between Canon and Fujinon broadcast style controllers and components from cmotion’s new and existing lens control system.
When used with some broadcast cameras and cmotion’s camin, the iris motor can be controlled automatically by the camera’s internal sensor. It is also possible to synchronise this for 3D broadcast.
It’s new cforce motors can also be daisy chained and then connected
Force fed: cmotion’s cforce motors are controlled via a single cable from the ENG adapter
to an ENG adapter through a single cable.
When using systems such as Telecast Fibre, the iris scale can also be controlled from an OB truck or studio using a cvolution knob solo. Also new is the Compact LCS, cmotion’s first budget lens control system, which can offer precision control for up to three motors, whether wireless or hardwired, through an ergonomic, easy to use hand unit.
It uses new cforce motors
developed with ARRI that are claimed to provide outstanding performance while being virtually silent (less than 20dB).
www.tvbeurope.com January 2014
An 18mm Schneider-Kreuznach Cine-Xenar III on a Blackmagic Production Camera 4K
Perfect for the JJ Abrams look: Shenk with the ARRI/Zeiss MA100
and cine cameras. The Xenon T2.1 colour-matched lenses include seven fixed focal lengths: 25, 35, 50, 75 and 100mm, with a macro lens and further focal lengths to follow. They can be fitted with F, EF or PL mounts, and have: identical external dimensions and control positions; circular aperture with 14 blades; manual focus settings with a 300° angle of rotation; larger focus and distance scales for easier focussing even with greater distances, readable on both sides; and a M95 filter thread. Canon’s new CN-E35mm T1.5 L F prime lens takes its range of EF Cinema primes to a total of six lenses. The CN-E35mm has been developed in response to strong demand from Cinema EOS users, and has a compact design that promises fast performance, which Canon believes makes it ideal for shooting in challenging low-light conditions.
The 35mm lens is designed for
4K production, with full frame coverage, and is colour matched to others in the range, as well as featuring the same form factor and uniform markings, making it easy to switch between lenses when on a shoot. Cooke has extended its miniS4/i range of primes to
include 40mm, 65mm and 135mm focal lengths, with a 21mm also in development. This will grow the range to 10 lenses (the S4/i range has 18 lenses from 12mm to 300mm). The miniS4/i lenses are all T2.8 (compared to the T2 of the S4/i and T1.4 of the 5/i range), which makes them considerably less expensive. “The real thing you are paying for is speed. The faster the lens, the higher the price, and with the increasing speed of cameras, T2.8 is often fast enough,” says Les Zellan, chairman and owner, Cooke Optics. A new entry to the video
market is Samyang Optics, which is known in the photography market for good quality lenses at reasonable prices. It now hopes to do the same for video with its V-DSLR cine lenses. The new 16mm T2.2 is €420, but should rival lenses costing at least double that from higher-end manufacturers for quality, claims its product manager, Piotr Madura. The V-DSLR lenses are rack
compatible with Follow Focus systems, and promise smooth, noiseless rotation of the aperture ring. They are available for Canon EF, Nikon F, Sony A
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