Lenses

Comedy with a Cinematic Look

Fri, 03/10/2017 - 12:33 -- Nick Dager

Two Netflix shows – Master of None and Love – have three things in common: both are comedies, both have a cinematic look and cinematographer Mark Schwartzbard shot both. Created by comedian Aziz Ansari and Alan Yang, Master of None tells the story of Dev, a 30-year-old actor who attempts to balance his career and love life in New York City. Love, created by Judd Apatow (Trainwreck, This Is 40), Paul Rust, and Lesley Arfin, explores an intense relationship between two Angelenos, Mickey (Gillian Jacobs) and Gus (Paul Rust).

Fujifilm Unveils MK Series Cinema Lenses

Wed, 02/22/2017 - 11:54 -- Nick Dager

Fujifilm has unveiled the MK Series of cinema lenses for E-mount cameras, which boast advanced optical performance, ultra-compact and lightweight design, as well as superb cost performance. The first in this series to be introduced, the Fujinon MK18-55mm T2.9, is a standard zoom with an 18-55mm focal length. It will be available in early March for $3,799.

Cooke Optics Expands to Meet Demand

Fri, 02/10/2017 - 12:51 -- Nick Dager

Cooke Optics has confirmed that it is planning to open a second factory less than two miles from its current Leicester, England premises in order to keep up with growing demand for its award-winning lenses, as well as to facilitate the development and manufacture of new ranges. The new facility, scheduled to open in June, is expected to increase output by 25 percent.

New Lenses Increase Tilt Function

Mon, 01/30/2017 - 14:37 -- Nick Dager

Schneider-Kreuznach has introduced Xenon FF-Prime Cine-Tilt lenses that combine similar form-factors and capabilities of the company’s popular Full-Frame Primes with added tilt function up to ±4°. By sustaining the field of view during focus and tilt actions, the new Cine-Tilt design makes possible previously unimaginable images from the freely moving and tilting focus planes.

FujiFilm Names Fletcher Director of Sales

Thu, 01/26/2017 - 11:03 -- Nick Dager

The Optical Devices Division of FujiFilm has appointed Tom Fletcher as director of sales. In his new role, Fletcher will oversee sales and promotion of broadcast and cinema lenses in North America. Working under the guidance of division vice president Gordon Tubbs, Fletcher will lead the sales efforts of six regional managers in North America. Fletcher’s position is effective immediately.

A Different Look for Nordic Noir

Wed, 01/18/2017 - 12:24 -- Nick Dager

When cinematographer Johan-Fredrik Bødtker, FNF was selected to shoot the forthcoming Norwegian drama series, Valkyrien, he knew what look he wanted. “I wanted the series to feel clean and contemporary but move away from the typical Nordic noir look. It was also very important to me that we could capture the details and mood on all of the different sets, especially the dark and dirty ones,” said Bødtker. “I needed a glass that was sharp, but not too sharp, that would have the right fall off and bokeh, and that would not flare or ghost as soon as the camera was pointed at a light source.”

Chronicling an Australian Legend

Tue, 01/10/2017 - 11:12 -- Nick Dager

Red Dog: True Blue is the iconic Australian story of friendship and adventure between a young boy and a scrappy one-of-a-kind dog that would grow up to become an Australian legend. The film is the prequel to 2011's Red Dog. Both films were directed by Kriv Stenders, written by Daniel Taplitz, and photographed by Geoffrey Hall. The film features wide desert vistas of Western Australia. It was shot full 2.40 anamorphic using an Alexa XT with a Cooke Anamorphic/i lens package from boutique rental house HyperFocal of Sydney.

Location Shooting in Rough Terrain

Wed, 12/14/2016 - 12:48 -- Nick Dager

The upcoming feature film Maine follows the journey of a married woman from Spain to reclaim her identity while solo thru-hiking the Appalachian Trail, a trip that is sidetracked when a lone American hiker pursues her. Cinematographer Donald R. Monroe said, “Simply getting to our locations proved a major hurdle. Frequently, each day began by transporting the entire production over a mile via ATVs; then the shooting crew would walk an additional ten minutes to the location. We were often far from battery charging and data transfer stations— the high-capacity P2 cards allowed us to be largely self-sufficient.

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