This is a Mamiya 200mm f/2.8 APO lens that has been modified for cinema use by Duclos Lenses. It has been fitted with an Arri PL mount, front 77mm threads with a standard 80mm O.D., the iris dampened and de-clicked, and a standard 0.8 mod focus gear added. This telephoto lens is a great way to expand any cinema prime lens kit.
The lens was designed to cover medium format, making it very well-suited for full frame and larger sensors, with exceptional sharpness corner-to-corner. Vignetting is almost nonexistent, even wide open. The built-in hood is not usable when the 80mm ring is installed, so a matte box is advised. Close focusing is limited to 2.5 meters (8.2 feet), if you’ll be using this lens for extreme closeups or macro work, we suggest adding a PL extension tube or diopters.
The Zeiss ZE lens family are full frame lenses designed for Canon EF mounts. The 35mm, 50mm, and 85mm in this kit are all f/1.4, great for creating shallow depth of field and working with limited light. These lenses are all manual focus only, with electronic iris control.
Advantages over the standard Canon 50mm photo primes include hard focus stops, longer focus barrel rotation, and sharper optics edge-to-edge. Nearly all reviewers rate the Zeiss performance ahead of Canon’s L-series primes.
This is a Zeiss ZE Planar T* 50mm f/1.4 lens, with an EF mount. The iris is electronically controlled, but the focus is fully manual, and a focusing gear has been added by Duclos Lenses cine-mod process.
The combination of Zeiss optics, all-metal construction, and a focus gear make this lens a killer choice for video as well as product photography where precision is paramount. The standard gear pitch will match with any follow focus. If you’re a video shooter going for a cinema-style look without breaking the bank, this lens should be the first one in your kit.
Advantages over the standard Canon 50mm photo primes include hard focus stops, longer focus barrel rotation, and sharper optics edge-to-edge, especially in the middle of the f-stop range. Nearly all reviewers rate the Zeiss above the highly coveted 50mm f/1.2L (as well as the 50mm f/1.4), and for video shooters, the difference is even more pronounced. Close-focuses to 1 1/2 feet.
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