InBroadcast - March 2022 - 34

34
www.inbroadcast.com | Vol: 12 - Issue 3 | March 2022
InStudio
Prime and Zoom Lenses
Cooke Panchro
Classic FF 40mm
of stills and video - there
are additional
Cooke S3 FF 65mm
benefits
to using lenses that are
specifically
Cooke Varotal FF 85-215mm
Cooke announced the launch of
two additions to its expanding range
of full frame lenses at the end of
2021. The two new Varotal/i FF zoom
lenses bring modern design and
materials to this line of zoom lenses
that were first introduced in 1971,
while the Panchro/i Classic FF range
offers the vintage Speed Panchro
look for full
frame sensors. The
Varotal/i T2.9 zoom lenses cover all
full frame sensors and are matched
in resolution, colour and fall-off to
the Cooke S7/i range, thus providing
a complete suite of Cooke full frame
spherical lenses. The focal lengths
of the zoom lenses are 30 - 95mm
and 85 - 215mm respectively. The
mounts can be chosen as either
PL or LPL at time of order. " We are
increasingly seeing a demand for
smaller, faster and smarter lenses
and our releases are at the centre of
this, " says Tim Pugh, CEO of Cooke
Optics. Additionally, on March 16th,
Cooke Optics will be announcing
new additions to its expanding range
of full frame lenses during a virtual
online event. "
Fujifilm has been making lenses
under the Fujinon brand for over 70
years and is one of the few brands
making 8K broadcast lenses. That
technology filters down through the
companies
ranges
of
broadcast,
cine and GF lenses. " While the
lenses in our GF lineup have been
developed primarily for still images,
they offer some great features for
videographers as well, " comments
Andreas
Georghiades,
Group
Marketing Manager at Fujifilm UK.
" There are many ways that they can
be used for movie-making - and are
especially useful for those wanting to
work in a hybrid way, creating a mix
difficult.
times when manual
For
some
focus
designed
for cinema. GF lenses can be used
for quick and accurate autofocus
at
is
projects
like
documentaries, AF can be extremely
handy.
" GF zooms and primes are fast,
allowing you to use all the creative
potential of focus in movies, from
a shallow depth-of-field to front-toback
sharpness. The key to using
a small set of lenses is to have the
director and cinematographer fully
understand how the story should be
told and create the action around
that plan. You could achieve this with
three or four primes from the GF lens
range, for instance, GF30mmF3.5 R
WR, GF63mmF2.8 R WR, GF80mmF1.7
R WR, and GF110mmF2 R LM WR. And
each lens's wide maximum apertures
let you film in low light, as well as
create beautiful subject separation.
" A GF zoom lens allows more
freedom in solving location problems
and means that you don't need to
switch lenses as often. You can think
of these lenses as 'variable primes'
because of their sharpness and low
aberrations. The GF45-100mmF4 R
LM OIS WR covers almost all of the
most common focal lengths used
Fujifilm GF lenses for
the GFX System
in film-making and has a bright F4
aperture to make exposure easier in
dim conditions, as well as picking
out subjects against nicely rendered
blurred backgrounds. It is also light
in weight. There's also a wide-tostandard
option in GF32-64mmF4 R
LM WR. And if you want to keep your
distance from the subject or achieve
a range of close-ups and ultraclose-ups
with ease, there's GF100200mmF5.6
R LM OIS WR. The choice
of packing primes, or zooms, or both
is something cinematographers take
very seriously, and depends on each
project. "
" Another big
difference between
stills and cine lenses is the way
aperture is controlled. While stills
lenses, like those in the GF system,
use aperture control that is defined
in hard stops, cinema lenses have
unrestricted
control
across
the
aperture range and in between stops,
making changes in exposure much
smoother in motion. This can be used
to adapt to changing light, just as in
stills, but also for creative effect. For
instance, a step-less aperture can be
used to counter subtle changes in
ambient light in a scene, or to change
the depth-of-field
for storytelling
reasons.
" Selective focus control
is a vital
tool in movie making. As such, you
can expect cine lenses to have a
much longer turn in their manual
focus ring, allowing more accurate
focusing, especially when operation
is remotely controlled. For the same
reason, cine lenses like Premista
models have a greater number of
distance markings on the lens barrel,
which makes it easier for film crews
to achieve accurate changes to focus
or focal length. There are currently
three Premista lenses, 28-100mm
T2.9 and the 80-250mm T2.9-3.5,
and a 19-45mm T2.9, all having a
tough and lightweight metal build.
Although each one is designed for
35mm film-sized sensors, they in
fact also cover the image area of GFX
large format 4K capture at almost all
focal lengths.
" If
you're thinking of
using
dedicated cinema lenses on your
GFX system body, you need to use
a mount adapter, such as a PL to GF
converter, but
this small addition
really opens up a world of cinematic
possibilities.
" With adapters, many retro-design
lenses from decades past can add
unique flavours and videographic
expressions to your production, or
might better suit a subject or era
you're working on. For instance, if
you're shooting a drama set in the
1950s, one might use lenses that
achieve that traditional look, instead
of trying to create it using software in
post-production. "
cont'd...
Fujinon Premista 28-100mm T2.9
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InBroadcast - March 2022

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