Things just move so fast nowadays.
Last year at this time, we were all still wondering what the impact of the Sony Mirrorless line would be, and if Mirrorless cinema production would have any impact.
In 2016, it looks like we can pretty much remove all doubt. Sony isn’t a fluke and the E-Mount is a big player in lens development.
Cinema lenses are the name of the game for most high end video content producers that I know.
I love shooting with the Canon L Series, but there are a variety of reasons that I’d rather shoot with a proper cine lens – The smooth focus ring is a perfect 300mm rotation especially made for smooth racks, the de-clicked aperture for smooth transitions between uneven lighting situations and one of the most important things of all, the consistent size and weight that operators need to maintain balance when working with a multitude of ancillary accessories.
Beyond this need/desire for cinema glass by cinematographers are the manufacturers who have, especially in recent weeks, totally stepped up to the plate and created glass that has everything we need.
The most glaring improvement? The implementation and adoption of the E-Mount.
When Tokina set out to make their new line of cinema lenses they wanted to do two things: Make lenses that don’t breathe. That is, when focus is shifted, don’t have a zoom or widening effect. And they wanted to cover the full-frame. The vast majority of cinema style cameras use Super 35mm sensors, so why is this important?
You can surmise quite a bit from this, but what I think is most likely is that Tokina made these lenses with DSLR and Mirrorless shooters in mind.
This new sort of focus or at the very least acknowledgement of DSLR and Mirrorless shooters is fairly unprecedented. But to me, it’s only a good thing. It proves that the E-Mount is a big deal for modern manufacturers.
Newsshooter at IBC 2016 – Tokina full frame cinema prime lenses
(cover photo credit: snap from video)
He shoots a lot and often.
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