Available at:

• EF - http://www.bhphotovideo.com/c/product/1077545-REG/samyang_syds50m_c_50mm_t1_5_cine_lens.html
• m43 - http://www.bhphotovideo.com/c/product/1077557-REG/samyang_sa501543_50mm_t1_5_cine_lens.html
• Nikon F - http://www.bhphotovideo.com/c/product/1077547-REG/samyang_syds50m_n_50mm_t1_5_cine_lens.html

Available at:

• 35mm - http://www.ebay.com/sch/i.html?_trksid=p5197.m570.l1313&_nkw=rokinon+T1.5&_sacat=0
• 14mm - http://www.ebay.com/sch/i.html?_nkw=rokinon+T3.1&_sacat=0&_odkw=rokinon+T1.5&_osacat=0
• 85mm - http://www.ebay.com/sch/i.html?_trksid=p5197.m570.l1313&_nkw=rokinon+T1.5+85mm&_sacat=0
• 16mm - http://www.bhphotovideo.com/c/buy/16mm_T2_2_Cine_Lens/Ntt/16mm+T2.2+Cine+Lens/N/0

Laowa OOOM Cine lightweight zoom is the first professional cinema style zoom lens offered by Venus Optics.
The lens features a wide 25-100mm zoom range, making it a one-size-fits-all lens for different types of productions.

Unlike some cine lens in the market which were re-engineered from a photo zoom lens, Laowa OOOM Cine series is designed for digital cinematography in the first place. It is truly parfocal, meaning the focus will never shift when you zoom in or zoom back out. It is designed to have nearly zero focus breathing throughout the whole zoom range. The aperture remains fixed at t/2.9 at all focal lengths.

It is built with the true cinema level mechanics. It comes with a stepless, t-stop independent aperture ring with an industry standard 0.8 mod /32 pitch gears.  The 270° rotation flow provides room or precise focus pulls and the iris is clickless, enabling smooth iris pulls. The lens weighs only 2.16 pounds, which is fairly light for a cinema zoom that holds focus and aperture throughout the focal length range.

I was expecting this. They had to check with Paramount Studios for a good date. Hopefully we will be able to attend.

http://www.newsshooter.com/2016/09/08/ibc-2016-tokina-35mm-50mm-85mm-t1-5-cinema-prime-16-28mm-ii-t3-lenses/

35mm, 50mm, 85mm T1.5 Lenses quite heavy >2.000g, 4000 - 4450$

Specs

• https://www.bhphotovideo.com/c/product/1332674-REG/canon_70_200mm_t4_4_cine_zoom.html

PR

Thales Angenieux, in collaboration with Band Pro Film & Digital Inc., and Jebsen Industrial Technology Co. Ltd., announces at IBC 2016 a new range of zoom lenses – the Angénieux Type EZ Series – two fast and light weight zoom lenses integrating an innovative modular design (Interchangeable Rear Optics IRO technology™) to cover S35 mmm and larger image formats for cine and broadcast productions.

Designed for both Super 35mm digital motion picture cameras, and FF/VistaVision cameras, the new Angenieux Type EZ series has been created to fill the wide gap between still photography zooms, and the highly acclaimed OPTIMO / OPTIMO STYLE family of lenses used in the motion picture industry. For the first time, ENG-style productions will get the flexibility necessary for run-and-gun shooting, combined with high optical quality at an affordable price.

The Angenieux Type EZ Series features two new fast and light weight zooms, both lenses allow the rear lens group to be exchanged between S35mm (up to 30mm image diagonal), and FF/ VistaVision formats (up to 46mm image diagonal).

The Angenieux Type EZ-1 is a standard zoom lens with a zoom factor of 3x. When configured for S35mm cameras, the focal range and aperture are set to 30-90mm F1.9 / T2. By exchanging the rear lens group, the lens becomes a 45-135mm F2.8 / T3 covering an image circle up to 46mm diagonal.

The Angenieux Type EZ-2 is a wide zoom lens with a zoom factor of 2.7x. When configured for S35mm cameras, the focal range and aperture are set to 15-40mm F1.9 / T2. Byexchanging the rear lens group, the lens becomes a 22-60mm F2.8 / T3 covering an image circle up to 46mm diagonal.

Both lenses are built in a full metal casing, with internal thermal drift compensation, which allows focus to remain constant when the temperature changes. Focus / Zoom / T-stop can be controlled precisely due to the wide rotation angle of the 3 control rings, which are also equipped with cinema industry standard gear teeth. The lens size remains consistent across the zoom range due to the internal focusing & zooming mechanism. Users can easily configure these lenses to support different imaging formats (S35 or FF/VistaVision), and different lens mounts (PL, EF, or E) on their own, without returning their lenses to service centers.

Full frame EZ zooms will fit RED 8K VV, Red cameras recording at resolutions higher than 5.5K, ARRI Alexa Open Gate, ARRI Alexa 65 with VistaVision crop and also Full Frame DSLR cameras such as SONY a7S Mark II, Canon EOS 5D Mark IV, 5DS, 1DX Mark II…and more to come. Detachable ENG style zoom servo grips and other accessories are being developed by third party manufacturers .

The Type EZ series will address the requirements of independent videographers and cinematographers, who are seeking for cost efficient tools that enable cinematic expressions. The exceptionally fast T2 lens opening provides tremendous control of depth of field, only previously found in prime lenses. Thanks to the Angenieux innovative system, the ability to convert lens mounts, and the image circle size makes the Type EZ lens series a solid investment to all industry professionals.

“Being the worldwide leader in premium quality cinematography zoom lenses, it’s critically important for Angenieux to address the ever-growing, affordable digital motion picture camera market.”, noted Pierre ANDURAND, CEO of Thales Angenieux. “The challenge is to provide a cost efficient, professional quality lens that can be used on both current S35 cameras, and future cameras built around larger imaging sensors”.

“Type EZ lenses are one of the fastest zooms in the industry with an open aperture of F1.9 or T2. When converting the image circle between S35 & VistaVision, the field of view remains fairly identical, so there are no crop factors to worry about. The wide zoom can be used as a wide zoom regardless of the image circle size.” says Christophe REMONTET, Thales Angenieux Product Line Manager.

Deliveries are expected to start from the 1st quarter of 2017 through selected distribution partners.

Well, now we're in post, and there are a few problems. The GX7's footage is, well, pretty vibrant: it's smooth, with vivid color, and very sharp focus. And not only is it difficult to grade Vlog to match it (Balazar's LUTs are a big help), I'm finding that my cine-lens footage is just a lot softer than the stuff shot with auto-focus lenses.

Is this kind of the rule with lenses-- that the auto-focus lenses made by Panasonic are just sharper than Rokinon or SLR primes?

(Also, a side question: if I use sharpening on my 4K footage, which is better: sharpen the 4K and then reduce to 1080p, or reduce to 1080p and then sharpen?)

How is your experience? What sets are good for 4k?

GH2 when properly exposed handles like a champ.

2 GH2 cameras

Rokinon cine lenses:

• 14mm T3.1,
• 25mm T1.5,
• 35mm T1.5,
• 85mm T1.5

Shutter speed 40 "magic trick on cadence"

Profile: smooth -2,-2,-0,-2

The trick here is to underexpose the camera and use proper ND filters. New patches allow to handle good recovery on gamma curves. I think the cadence also improves when shutter is at 40.

Im no pro color corrector, so some shots are not well balanced.

I did the Direction and cinematography

PL to MFT adapter from the very well known Ciecio7 eBay seller.

It costs $320 new, I'm just asking for $125 and shipping. It is shimmable and has the absolutely necessary support bracket.. Put that 2x Anamorphic or cine glass on that Gh4!

Please PM or email me at innersparkfilms@gmail.com if you're interested or have any questions!

http://img.photobucket.com/albums/v215/DiatarusSOulbane/PL1_zpsdtcihszr.jpg

All the glass is in great condition (I have included pictures of the front and rear elements of every lens) and scratch free. There is some small dust particles on the glass, but they are all external. No internal particles of note.

All lenses are in good to great condition. The only lens that has any issues at all is the 21mm f4. The issue is very minor. The front of the lens where the filter thread is has a small amount of movement front to back. It doesn't effect anything performance wise or visually with the lens. Just want to be thorough in my descriptions.

All lenses have focus gears installed with 82mm diameters.

The 35-70mm has two gears installed. One for zoom and one for focus. The focus gear is huge to accommodate the telescoping of the lens as it zooms in and out. The gear will catch a follow focus gear through the entire range of focus and zoom.

The 28mm doesn't have the gear or the front lens sticker yet, but the gear is on its way, and it will be installed as soon as it arrives. It will be the same as the rest of the set. I will re-upload the pics of the 28mm lens as soon as the gear gets here.

Leica R 21mm f4 ser no. 2614663 Leica R 28mm f2.8 ser no. 3039902 Leica R 35-70mm f3.5 ser no. 3285508 Leica R 50mm f2 ser no. 2923077 Leica R 90mm f2.8 ser no. 2537961

$3000.00 for the set. I can throw in my Storm case for the lenses for another $100.

PM me if you are interested. Payment through Paypal is preferred so we are both protected by Paypal's policies.

My cine D settings are 0, -5, -5, -5, 0. Everything else is default.

From now onwards - I'm using 4400k for daylight shooting

I have a set of Arri Zeiss lenses, in standard mount with PL adapters. The set is 24/32/50/85 all lenses have arri pitch gears installed, and 80mm fronts. The 50/85 are clickless, but the 24/32 have not been de-clicked. Glass is very nice, though the 24 has some cleaning marks on the front. These lenses range from the late 60's to early 70's and are the pre T* coating. I'll also throw in a set of Tiffen diopters +1, +2, +4.

You can view photos of the set here: https://www.dropbox.com/sh/1d97lhvt6...YCmieGkwa?dl=0 Also, you can view a promo spot shot with these lenses here: http://www.savagehenryfilms.com/port...cs-7-layer-set (sorry for the excessive flares, but the client gets what they asked for!)

Looking for $7500 for the set.

So I know C mount lenses can be used for different modern/digital cameras with varying sensor sizes, as long as you have the right adapter. Can D mount lenses be used in a similar way? Or are they simply too small? Also, was wondering about M mount (Kodak Cine) lenses--can they be adapted for use with newer cameras?

Thanks for any insights!

Panasonic Lumix GH4 CINE D -5,-5,-5,0 With Vision-Color M31 LUT

Samyang 35mm T1.5 Cine Lens

Is GH4 Cine D and Cine V photo style can work as good as Log file like S-Log or C-Log ?

International Shipping will have to be quoted per country.

PAYPAL only.

PM me if interested!

18mm t3.4 serial no. 780067 $450.00 Comes with rear cap, but no front cap.

28mm t2.3 no serial no. Looks like a late 70's early 80's model $300.00 Slight coating loss on the rear element, but it doesn't seem to affect the image quality. Has a standard pitch focus gear. Front cap and rear cap.

50mm t2.3 serial no. 820031 $300.00 Front cap. No rear cap.

Got this as part of a bundle from Adorama last week, and it has excellent reviews, but selling because I already have a good lens in this focal length.

Asking $400 or best offer. Free shipping by priority mail is included (within the USA).

In stunning/mint cosmetic and mechanical condition, aperture, zoom and focus rings turn nice and smooth, glass is pristine, like new, no fungus, haze, chips, scratches or cleaning marks.

Focuses from 1.2m to infinity.

Can ship worldwide. It's a fabulous lens.

Test footage here

1x Nikkor 24mm AIS F2 s/n 202338 1x Nikkor 35mm F2.8 AI s/n 425490 1x Nikkor 50mm F1.8 AIS s/n 3201608

I have been keeping them in a hard peli case which is not included in sale unless someone really wants it I can work out its cost.

Price E800 OVNO including 3 cine gears, front and back caps, AI-MFT adapter (for GH2 AF100, BMC etc) and AI-EF adapter (for Cannon cameras or BMC)

I have worked out prices based on the cost of these lenses currently on ebay less shipping and taxes of course. There is also a small charge for the adapters and Cine Gears but again no shipping or waiting on delivery - the cine gears took nearly 3 weeks to get here!! I tghink the set is priced fairly and to sell.

For sale:

1) SLR Magic HyperPrime Cine 12mm T-1.6 (price: €450),

2) SLR Magic Cine II 35mm T-1.4 (price, 390),

3) SLR Magic 1.33x - 50 Anamorphot (price, €1200).

Any offer close to those prices, is accepted.

Paypal is accepted, plus the shipping cost. Shipping from France.

Thank you, Ioannis.

I am considering to sell my great SLR Magic cine 50mm T0.95 (non RF coupled) in leica M mount. It is super sharp even wide open! Perfect if you own other SLR Magic lenses to complete a matched set. I used it only occacionally on private projects. It is basically in a new condition. It DOES have some tiny dust particles inside that were there even when it was brand new, but they don't affect the picture quality at all.

I am not giving it away for cheap, because it is a great lens. I still feel bad about selling it, but I need mone for other investments.Sadly.

I am asking 2000 Euro ecl. shipping for it. Official Sales price in Europe is 2399 pounds! Compared to the prices at SLR MAgic UK and other places, this is a bargain.

It will also include a 62mm Hoya UV FIlter. It doesn't come with original Box.

Here are some pics:

Off to shoot!

Rokinon is thrilled to announce the release of its 16mm T2.2 Cine lens in September, 2013. The Rokinon 16mm is a wide-angle lens for DSLR and mirrorless cameras in both the APS-C and Micro Four Thirds formats.

This lens allows for an impressive range of depth of field, with its fast T2.2 aperture. With a smooth operating manual focus, the 16mm offers pristine sharpness and clarity. It is ideal for shooting landscapes, architecture and interiors, as well enjoying unique perspectives and close-ups with shallow depth of field.

The 16mm T2.2 Cine lens features de-clicked apertures and follow focus compatibility, which is ideal for video. The lens is constructed with a solid build, using 13 optical elements in 11 groups with 2 aspherical lenses.

Rokinon is proud to provide a wide range of mounts. The 16mm T2.2 lens will be available in Canon, Nikon, Pentax, Sony, Canon M, Fujifilm X, Sony E, Samsung NX, as well as Micro Four Thirds cameras.

Rokinon continues its mission of “Excellence for Less.” See these great lenses at a Rokinon dealer near you or at www.rokinon.com.

Also, my budget for a good wide is around 200$. if anyone can suggest me a better vintage/new/used lens i would be thankful.

Thanks!