Often, cinema zooms cost more than the camera they’re mounted to. This year however, there’s been a sudden wave of budget cinema zooms introduced, aimed at the owner/operator market and priced accordingly.
This weekend I was invited with wildlife filmmaker Leanne Gater to attend the Wildlife Film Festival Rotterdam in the Netherlands. The festival boasted over eighty films, showcasing the best wildlife documentaries from around the world.
Since 2008, filmmakers have been in the market for full frame cine primes. Lenses that cover the larger format yet still offer all the mechanical advantages of a proper cinema lens.
RED Digital Cinema this week introduced two new cameras, bringing the total number of DSMC2 cameras currently available to five. But let’s compare them. What’s the difference between them all?
How do the Contax lenses fair compared to it’s contemporaries? Let’s look at the Contax line compared to other Zeiss lenses both new and old: the Super Speeds, Classic (ZE/ZF.2) and CP.2s.