Lenses in focus with innovations from Angenieux, Tokina, Fujifilm and more

Angenieux (12.F30) aimed for the very large sensor market with its prototype Optimo Ultra 12x 65mm, built to match the Arri Alexa 265. It adapts an existing lens, made possible by its Interchangeable Rear Optics technology, which allows users to swap out the rear lens section for different cameras, from S35 up, ideal for rental houses. At 65mm the lens has a 46-556mm focal length at T5.6.

Arnaud Esbelin, Operational Marketing and Communications Manager, said: “All these swaps we are doing optimise the lens to the sensor without any loss of quality.” The lens has a resolution of about 16K.

Tokina (12.A30) expanded its beyond-full frame Vista series with the Vista-P and Vista-C ranges to offer a wider range of looks. The Vista-P gives a vintage look reminiscent of old Petzvel lenses with swirly bokeh, while the Vista-C gives a blue flare with a hint of red. There are 12 lenses from 18mm to 180mm (all T1.5, except the T1.9 180mm - which is the only one not available in the Vista-C version). Tokina also has a new 1.22x extender to help wide-angle lenses be used with VV-65 large format lenses.

A Melted Bokeh look is part of the appeal of the new Muse Primes from Elysas (12.B53). Sommi Song, Marketing Executive, said: “We are focused on the beauty of the image”, marrying vintage softness with modern sharpness. They offer large-format coverage; with 25, 32, 40, 50, 75 and 100mm T1.8 models, plus a 135mm macro T2.8; and “we’re the lightest T1.8 lenses ever” at under 900g each. Because they are factory direct, they can offer customisation inside (including bokeh and flare) and out.

Lens rehousing specialist, GL Optics (12.F27) showcased a new Otus-X 21mm T1.7 lens, which takes the Weiss 28mm and adds a wide-angle adapter and also improves the close focus to 28cm. It has a new range of Pentax 67x large-format lenses, rehousing a set of nine lenses using a 0.8 speed booster so that they are wider and half a stop faster. They cover a 60x70mm sensor, so can even work with IMAX cameras.

Fujifilm (12.B20) has a new G-mount cinema lens for its GFX cameras, such as the Eterna 55. The 32-90mm zoom is a T3.5 with built-in stabilisation. It can be controlled via the camera, and via zoom rockers on the camera and lens, but has hard stops for manual use.

Marc Cottrall, Cinema Business Development Manager, said: “It is similar to our Premista lenses. It’s quite a clean look. It’s cinematic, but it's a lot cheaper than the Premista lens,” at about €4500 when is ships later this year.

For more traditional broadcast lenses, Fujifilm is showing a prototype UA22x4.8BERD for 2/3in B4-mount cameras. It has a 2x extender, weighs 2.2kg and is a good mid-range zoom for crane use of general news coverage. The LA30x7.8BRM is a compact and lightweight entry-level 4K lens with a 30x zoom. It is available with Blackmagic zoom and focus demands (as well as Fujinon) and is fully compatible with RCPs for studio and OB use.

LK Samyang (12.G64) has two new Sony E-mount lenses in a range developed with Schneider. The AF24-60mm and AF14-24mm, both F2.8. John Kang, Marketing Manager, said: “It’s a really compact fast lens, weighing under 500g.” They will be joined next year by a 60-180mm version, and the three lenses will later be offered in L-mount versions.

Irix Lens (12.A14) unveiled a new mount adapter the fits PL-mount lenses to Sony’s E mount. It takes drop-in filters, including a variable ND filter.