January 2014
www.tvbeurope.com
TVBEurope 27 The Workflow
coverage means they can also be used on DSLRs, and they can create a sweet spot effect and a uniformity of illumination when used on Super35 sensors. Price for the CZ.2 15-30 should be similar to the other Compact Zooms (about €14,900) and they will be exactly colour matched (as they are with the ARRI/Zeiss Master Prime and ARRI/Zeiss Ultra Prime lenses). The CZ.2 15-30 will replace the discontinued Lightweight Zoom LWZ.2. The new Angénieux Optimo 25-250 DP T3.5 zoom lens may be more affordable than the 28-340mm and 24-290mm Optimo DP zooms, but it is comparable in quality, significantly lighter (at 7kg instead of 11kg) and more compact. “Optically it is really high performance, and mechanically it is very strong,” claims Jean-Yves Le Poulain, Thales Angénieux product manager for cinema/TV lenses. There is 32mm sensor coverage with “close to 6K” resolution. It meets the DCI specification for 4K projection, so is very flat. Minimum focus is 1.2m. It comes with a PL mount as standard, but can be fitted with Panavision, Canon EF or Nikon F mounts. It boasts good flare correction, so it can
work without a shade, while filters, even gels, fit at the back of the lens at a point where dirt on the filter won’t be critical. There is also a Cooke /i technology interface for metadata. The lens will cost €39,000 when it ships next month.
Mount up
Schneider Optics’ new 1.4x Century Extender for PL-mount cameras can increase the range of a lens by 40% with just a single F-stop loss in light. The Century 1.4x MK II PL to PL Extender mounts between a PL-mount
Field of view: There’s an App for that
LMC’s NEW LensView App uses an iPhone to simulate a camera’s field of view so you can see what all Fujinon and Canon broadcast lenses will look like for any 2/3-inch or 1/3-inch broadcast camera.
“When you use LensView during your site survey, you will not have any headaches when you arrive on site at your actual production, because you already know what your cameras are going to see,” explains TV director, Felix Marggraff, CEO of LMC (LiveMotionConcept).
He promises that the app, which costs €8.99/£6.99/$9.99, will be updated with new lenses as they emerge and that data for lenses from Angénieux, as well as ARRI, GoPro, Phantom, Red and other cameras “will follow soon”.
Other updates promised include: comparison screen shots within the app (currently you can
camera and lens, and allows zooming while maintaining focus. It also allows mount clearance of up to 14mm from the PL mount flange.
Schneider Optics has also introduced a
new In-Camera Filter System developed by Clairmont Camera for the ARRI Alexa. It uses custom assemblies that hold interchangeable Schneider filters in front of the Alexa’s sensor. Denny Clairmont, CEO of the rental
house, says the camera’s high light sensitivity (600 ISO and beyond), makes use of neutral density filters particularly important. “One of the things cinematographers appreciate most about the ARRI Alexa is the excellent light sensitivity. Working at higher ISO ratings can lead to lots of ND if you want to shoot wide open.”
Field research: The view from LMC’s new LensView iPhone app
take a screenshot that is saved to the camera roll); and forwarding of screenshots straight from the app — by email, mms, etc. “We want to
The kit includes a magnetic filter holder that replaces the Alexa’s light baffle. It also comes with shims (to precisely compensate for the focus change resulting from the behind the lens filter), a filter installation tool, and seven mounted Schneider ultra precision multi-coated in-camera filters: Clear, IRND .3, .6, .9, 1.2, 1.5 and 1.8. When no filtering is needed, a clear filter is used to maintain focus, and filters can be changed in minutes.
The kit can be used with most PL
lenses but is not compatible with Zeiss T2.1 16mm, 24mm, 32mm, ARRI Macro 16mm, 24mm, or 32mm, or the Cooke Series II and III 18mm, 25mm and 32mm lenses. Lens extenders may also interfere with the filters.
keep the app simple though, as we all know that during a site survey you want quick results and easy operations,” he adds.
Anamorphics give digital personality Anamorphic lenses have seen a surge in popularity recently, with the introductions of new lenses from ARRI/Zeiss, Cooke and Angénieux. Cooke Optics is introducing seven Anamorphic/i lenses: 25mm, 32mm, 40mm, 50mm, 75mm, 100mm and 135mm, all T2.3. “There’s a huge demand for anamorphics. We have orders stretching long into the future,” says Zellan. “Digital makes anamorphic use a lot easier than film did,” but digital can also look boring, while anamorphic adds texture and feeling, he argues. “One reason Cooke lenses remain popular is that they have a personality that people like.”
Beauty is in the eye of the filter holder: Le Poulain demonstrates the Optimo
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