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karingottschalk · 1 year

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Irix: Irix Matte Box IQ, The new filmmaking accessory – Commentary

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#carbon fiber #carbon fibre #ciné lenses #ciné prime lenses #cinema lenses #cinema prime lenses #Irix Lens #Irix Lens USA #Irix Magnetic Mount System #Irix Matte Box IQ #Irix MMS #lightweight matte boxes #matte boxes

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of-two-lands · 6 months

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44°58'23.5"N 6°03'54.8"E

youtube/oftwolands

www.oftwolands.com

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rosalyn51 · 2 years

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ae_dop A few little rushes frames from #ADOW2…⁠ ⁠ ⁠ ⁠ ⁠#Arri #AlexaMini with #Panavision #PVintage primes

ADOW #ADiscoveryofWitches #MatthewGoode #TeresaPalmer #adiscoveryofwitches2 #films #cinema #film #movies #filmmaker #filmproduction #director #movie #filmlife #setlife #producer #cinematic #actor #production #filmmakers #cinematography #indiefilm #filmmaking #lenses #bts

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*DOP Adam Etherington BSC posted these new photos on June 30, 2022.

#matthew goode #a discovery of witches #matthew clairmont #matthewgoode #adow #matthew roydon #teresa palmer #diana bishop #adowtv #all souls trilogy #shadow of night #adows2 #cinematography #adam etherington

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vincentcatagainsttheworld · 2 years

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Posted @withregram • @ae_dop A few little rushes frames from #ADOW2...⁠ ⁠ ⁠ ⁠ ⁠#Arri #AlexaMini with #Panavision #PVintage primes ⁠ ⁠ #ADOW #ADiscoveryofWitches #MatthewGoode #TeresaPalmer #adiscoveryofwitches2 #films #cinema #film #movies #filmmaker #filmproduction #director #movie #filmlife #setlife #producer #cinematic #actor #production #filmmakers #cinematography #indiefilm #filmmaking #lenses #bts https://www.instagram.com/p/Cfcjz-Yssro/?igshid=NGJjMDIxMWI=

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passiveagressiveukulele · 1 day

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Who's afraid of 1080p?

Last semester we walked away from the test shoot with two technical concerns - is my Canon C100's 1080p enough or should we opt for a 4k camera and how do we get a sturdier slider, that will still be just as easy to transport.

The 1080p resolution and a bad slider are in a symbiotic relationship - if the slider is janky and unreliable, the footage will have to be stabilised in post, resulting in cropping which reduces the quality. So really only one of the variables needs changed - either we get a 4k camera or a better slider.

Paul suggested testing out the Sony FX6, which I used previously and am pretty comfortable with. Not to be that YouTube bro though, when compared to the colours Canon gives straight out of the camera, Sony is just oversaturated and too high contrast for me. And in theory, this shouldn't be a concern because, hey, colour grading is a thing, but in my case, being the project's DoP and editor I know I won't have the energy to spend countless hours grading the footage to get the look that my Canon delivers. I'm expecting to spend 3-4 weeks editing the film on top of the two weeks that I will be shooting it in Poland. I'm aware I won't get much, if any time to step back from looking at the images I captured if grading requires just that - a rest for the eyes. Nonetheless, there is no harm in giving Sony a go and trying some of the push ins in the edit. Katie wanted to try the camera out herself for Saint Catherines so we joined forces and I had the pleasure of working with the best cinematographer model in the game :))

Colours aside, I think this test really solidified the fact that the slider was the culprit all along - not the camera resolution. The push-ins in post really aren't what we're going for, as they merely work as zooms. Sliding the camera on a tripod means that the background, foreground and middle-ground are moving silmoutaneously, and there is a potential for panning too. On top of that, the kit store only has one E mount zoom lens for the FX6 and I would prefer to work with primes, as I would have more F stop range. Between myself and Natalia we have all the lenses we could possibly need and given the film's more abstract style, I know we will need lenses that can open up more than F4.0.

So having diagnosed the real issue, the question remains - how do we go about the slider? The kit store slider was definitely not going across the border. I spoke to Andrew and he offered his old slider for me to test out, but sadly couldn't find it in the end. Back at square one I started toying with the idea of making my own slider.

Down the YouTube rabbit hole I went, choosing between the pvc pipes, dolly wheels and many, manyyyy screws. Hours later I thought. - might just be easiest to buy a second hand slider, so down the Facebook marketplace/ebay rabbit hole I went. After having compared the prices I concluded the best way to move forward is to find a healthy medium.

On my morning stroll across Bruntsfield, a piece of metal perfect for the slider found me - it was meant to be! I'm pretty sure it was once part of a clothes drying rack, but in its broken state it only had two metal pipes connected on either side by metal rectangles I could drill into and mount onto a tripod.

I knew I couldn't build a ball head for the tripod so might as well order one off Amazon and return if it's not adequate. Whilst scrolling I came across Neewer's skater dolly and upon inspecting it I noticed its width was perfect for the width of my makeshift slider. And given I opted for my camera which is much lighter than any other cinema camera, the dolly head could support it. Sometimes the universe just looks after you... If the budget allows, I'd also like to order this bad boi (yes, the YouTube bro got to me):

youtube

My prediction is that I will be changing set-ups on the go, during takes, and having a dolly which is just an extension of the tripod would mean I could easily slide from one corner of the room to the other, without causing too much disturbance. Based on the photos of Natalia's grandparents' home, it seems like all the floors are wooden and this tripod dolly could glide smoothly across the rooms, allowing me more fluid movement than the slider. While the slider can only go left-right, forward-backward, with this dolly I could go in semicircles if necessary. And just like that - my Amazon search was complete and order placed. I will burn in hell like the filthy capitalist that I am.

Once the evil goods have turned up on my doorstep it was time to turn to a man for help. My boyfriend studies sculpture at ECA and has access to metal work so he offered to create walls for the slider that could further stabilise the dolly head. He added pieces of felt to make it more smooth sailing too (and a smiley face because what's a slider without a smiley face). He was also able to drill the holes on either side so I can mount the cheese plates on the slider and secure it between two sliders.

Here's Adam, myself and our baby Janusz (yes we named the slider after Natalia's grandpa). Definitely sturdier than what we used for the test shoot, much longer and equally as transportable, I feel confident in saying Janusz is built for the task ahead. I only wish I had more hands to help me assemble him when we're there...

#Youtube

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niceladyproductions · 1 month

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Best Tokina Cine Lenses: Full Frame Vista Primes

You know as well as I do there are a lot of cinema lenses on the market, particularly now that we are in 2024.

So why consider the Tokina Cinema Vista Primes? My video review includes LOTS of footage to showcase just how amazing these lenses are. I think of Tokina lenses as having character while still being sharp. The Vista Primes have no focus breathing, beautiful flare characteristics, are fast at a T 1.5, have interchangeable lens mounts and can cover Vista Vision size sensors. Tokina Vista Primes come in focal lengths between 18mm - 180mm, so they really are a complete set.

Tokina has released a second set of these lenses called Vista-P with reduced contrast, swirly bokeh and a look that better reflects a set of vintage lenses. The plus of the P series is they are modern in physical design, so you get the vintage look but in a lens body that is easier for professional focus pullers and cinematographers to use than vintage lenses that might have challenging physical characteristics.

Enjoy the review and if you're interested in these awesome lenses use the coupon code CONLIN10 and save 10% off! Tokina Cinema lenses and filters through their USA store https://bit.ly/3RMnms4

#tokinacinelenses #cinematography lenses #cinema lenses #tokinacine #tokinavistaprimes #filmmaking #cinematography #Youtube #tokina lens review

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pannyhire · 2 months

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Unleash Your Creative Vision with Caldwell Chameleon Prime Rental and Cooke Anamorphic Rental in Los Angeles

Los Angeles, often dubbed as the entertainment capital of the world, is a hub for creative minds and cinematic visionaries. Filmmakers and content creators from around the globe flock to this city in search of the latest and greatest equipment to bring their creative visions to life. Two names that have become synonymous with excellence in the world of cinematography are Caldwell Chameleon Prime Rental and Cooke Anamorphic lenses. Let's explore how you can access these high-quality lenses through rentals in the heart of Los Angeles.

Caldwell Chameleon Prime Rental

Caldwell Chameleon Prime lenses are renowned for their versatility and the remarkable way they adapt to different shooting conditions. Regardless of whether you're producing a documentary, a commercial, or a feature film, these lenses offer a unique blend of character and flexibility that can elevate your visual storytelling.

These prime lenses are designed to provide filmmakers with a wide range of creative possibilities. From achieving a vintage, classic look to capturing the sharpest and most modern images, the Caldwell Chameleon Prime lenses offer a seamless transition between styles. With their consistent T2.2 aperture across the set, you can effortlessly switch between different focal lengths without worrying about changes in exposure.

By choosing Caldwell Chameleon Prime rental in Los Angeles, you gain access to a comprehensive set of lenses that can adapt to your specific project needs. Their high-speed capabilities make them an excellent choice for low-light conditions, and their precise craftsmanship ensures minimal distortion and aberrations.

Cooke Anamorphic Rental in Los Angeles

Cooke Anamorphic lenses are a staple in the film industry and are celebrated for their unique, cinematic look. These lenses add character to your visuals by introducing beautiful horizontal flares, organic bokeh, and a distinct oval-shaped bokeh. They are widely used in creating that classic "anamorphic" aesthetic that is highly sought after in the world of cinema.

Cooke Anamorphic lenses offer filmmakers the opportunity to craft a unique visual language, making every frame a work of art. Whether you want to transport your audience to a bygone era or infuse your work with a timeless quality, these lenses are an excellent choice.

The rental of Cooke Anamorphic lenses in Los Angeles can be a game-changer for your project. The lenses are known for their consistent performance, edge-to-edge sharpness, and minimal distortion. They provide a rich, warm colour palette that can bring your storytelling to life.

Caldwell Chameleon Prime Rental and Cooke Anamorphic Rental: A Winning Combination

One of the best ways to create a visually stunning and engaging project is by combining the unique qualities of both Caldwell Chameleon Prime and Cooke Anamorphic lenses. These lenses complement each other in surprising ways, allowing you to explore new creative horizons.

For instance, you can use Caldwell Chameleon Prime lenses to capture crisp, clean shots with a modern edge and then seamlessly transition to Cooke Anamorphic lenses to infuse your project with an anamorphic touch for those iconic flares and bokeh. This dynamic duo can transform your film into a visual masterpiece.

Panny Hire: Your Rental Source

When you're on a mission to find the best Caldwell Chameleon Prime and Cooke Anamorphic Rental Los Angeles, look no further than Panny Hire. They provide a large selection of top-notch equipment. And accessories for filmmakers and content creators.

Panny Hire is the go-to platform for cinematographers, offering a wide selection of lenses, cameras, lighting equipment, and more. With an emphasis on client happiness and an easy-to-use website, they make it easy to access top-of-the-line equipment for your creative projects.

Conclusion

Los Angeles is a city filled with creative opportunities, and choosing the right equipment is crucial for bringing your cinematic vision to life. Caldwell Chameleon Prime and Cooke Anamorphic lenses offer filmmakers the tools they need to tell compelling stories, and pannyhire.com is the perfect destination to find these top-tier rental options. With the combination of these lenses and the convenience of Panny Hire, your creative possibilities are endless, ensuring that your next project will indeed be a masterpiece.

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qu-film-history-to-1968 · 5 months

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How the shift from war-time narrative effected the movies and narratives in films that we see today.

Question- Starting AFTER World War II, which change in cinema was MOST DECISIVE for creating the cinema we currently see in theaters (or streaming, for that matter?

Photo/ video- https://www.youtube.com/watch?v=VY4HtQ-XJQE

Cinema and the film industry underwent many changes following the World Wars. The film industry and movie trends changed quite a bit during this time. There was a shift from wartime movies to movies that offered a new sense of hope and the idea of prospering after the war because people were happy and hopeful to have made it through the war. One of the significant things that arose for films was the use of colors across the film industry. The use of color offered people a whole new way to watch films; the use of color helped to provide a new sense of hope and perspective as to what the world could look like post-war.

"This history of color conversion in the film industry between the late 1920s through the 1960s demonstrates that while economic considerations might be regarded as primary, technological modifications and aesthetic preferences posed important obstacles or incentives which account for the time span between innovation and near total conversion to color" (Kindem).

Another thing that was introduced in the film industry during this period was widescreen lenses. The use of widescreen lenses was introduced in the 1950s, which expanded people's view when watching films, making it way more immersive and realistic than ever before. The use of both color and widescreen lenses helps to provide that newfound sense of hope that came out of the WWII era. Another new thing that was widely introduced in the film industry at this time was documentary-style films. Documentaries offered people a further look into things through a close lens that they probably had never experienced before. Documentaries allowed people to learn more about people and things they were interested in. The whole post-war realism movement in film can be looked at through the lens of a couple of films.

"But, considering Hollywood's traditional reluctance to agitate anybody, it was inevitable that the movie-makers would turn to the most inoffensive type. Rather than the Ibsenite form which rigorously exposed the cant, hypocrisy, fraud, and humbug beneath the re- spectable appearance, Hollywood's realism was to become more akin to Zola naturalism -dedicated to a purely surface authenticity" (Brustein).

Films in this era became less controversial, less about forcing propaganda amongst the public, and more about portraying more neutral, lighthearted storylines.

Film one: Kiss Me Stupid, (1964)

Kiss Me Stupid is the first film that I think represents how Hollywood changed post WWII. Kiss Me Stupid, directed by Billy Wilder, is a prime example of how Hollywood looked and shifted following the World Wars. The film provided a lighthearted feel and lavish scenery, which was used increasingly in films during this time to offer people a look at life elsewhere and provide an escape from reality. A scene that highlights this is when Dino first pulls up to the gas station, pulls up in his suit and sunglasses (romanticizing what a Hollywood star looks like), and drives his fancy car with his golf clubs. This scene just shows what "famous" people were supposed to look like, and it gives people hope that people lived lives like this. Additionally, in the scene when Polly is in the shower, she thinks Orville is talking to her, but it's not him, and everyone is confused about who is who. It provides a lighthearted, funny scene that leads to the playful nature of the film.

The film did not have a serious underlying message or undertone, and I think that is one main thing that came out of post-World War realism because a lot of the films that were made during the war were very serious and had a negative underlying message and left people feeling fearful for the future. The films made during the wars used a lot of foreshadowing to show people what might be to come. The post-WWII films did not do that; they tried to be lighthearted and not as serious to leave people with a good feeling.

Film two: Don't Look Back, 1967

The next film, Don't Look Back, directed by D.A. Pennebaker, was a documentary about the singer Bob Dylan. The documentary gave viewers a look at Dylan's process and showed him on tour and at his concerts. The documentary offered people a new look at who Dylan was and how he goes about being a singer/songwriter. The documentary was filmed on a handheld camera, which I think contributed to its overall feel. The documentary was not shot with many different camera angles and different shots. The handheld camera offered more of an informal personal view into Dylan. The documentary provided a new perspective when watching something on a screen. It wasn't about pushing a storyline but more about being informational. During the 60s, the evolution of documentary-style films took place, which offered people a new style of film. Also, during the '60s, there was a large movement of freedom and hippies, and doing new things started to become a thing. This loose nature is seen throughout the documentary. In the first shot, it is seen with a man on the street who had all of the lyrics to one of Dylan's songs, and it was something similar to the documentary that had not been done before.

"At the time, no one had done anything like that. When I first met Dylan at a bar down in the Village, he asked me, "Do you think this is a good idea, to write the words to a song on cards and hold them up while I sing it?" I said I thought it was a terrific idea. When we left for the shoot in England, we had about a hundred shirt card boards to use for the words" (Pennebaker).

The documentary allowed people to get a unique look into and perspective on different people and topics. I think that this was really the first time period where films or things that people were watching could be informative and informational. I think this idea and style only progressed to creating more and more documentaries on different people, which is something that is highly prevalent today.

Film three: House on 92nd Street,1945

The next film bridged the gap between WWII films and realism films. The House on 92nd Street, directed by Henry Hathaway, was a film about a spy, but I think it was different from many of the spy films made during WWII. The film tried to break away from many of the previous war films, and it helped open up a new age of horror and thriller films. Horror and thriller films changed to be more suspenseful and realistic following the World War era. The film was different because it touched on the idea of spies and Nazis but did so in a way that was not too predictable and also did not try to inflict propaganda on the viewers. The film also allowed people to watch and make their own assumptions. The post-war films featured more realism and less propaganda and forced narratives. In the scene at the diner with the detective, the overall nature is clear; the detectives do not pepper the people with questions, and they just stare at each other for a few seconds, which is a bit comical. This film was made right when WWII was ending, so I think people could look at spies differently and with more of a comedic approach. The scenes that show what the spies use as spyware are another comical part because it is so different from what is used in spy films today; they use cameras, lipstick detection, two-way mirrors, and different fingerprint databases. The overall tone and nature, as well as the actions by the actors, differentiate it from other spy and war films, and I think this film helps to show that the end is near, and the war is almost over.

I think that the post-war film era provided a lot of changes, and a lot of these changes have stayed through the current film era that we are in now. The shift to documentaries that began in the '60s has set a precedent for what a documentary can look like and what topics a documentary could be about. The Bob Dylan documentary was one of the first documentaries about singers and concerts, but it has become something very common lately. This can be seen in Taylor Swift's era's tour movie, a documentary recently shown in movie theaters across the country. The advancements in this era primarily impacted another film from today, which I think is Clueless, 1995. Clueless is a very lighthearted, easy-to-watch movie that does not touch on any serious themes or messages, but it is a movie that is fun to watch because there are bright colors. The change from all serious, rather depressing storylines to more studios making more feel-good movies made it possible for films like Clueless to be made.

Links

https://www.britannica.com/art/history-of-the-motion-picture/The-war-years-and-post-World-War-II-trends

https://www.britannica.com/art/documentary-film

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aberdoniandoesfilm · 8 months

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The Banshees of Inisherin Cinematography

Fit like! I'm have an interest in specialising in cinematography, meaning that I had to pick an article from ASC magazine for the first reading. I picked an article about The Banshees of Inisherin (2022) from the February 2023 edition. This is a film that i had went to see in the cinema and thoroughly enjoyed it.

The film centres around the fractured friendship between two men on a remote island in Ireland. Martin McDonaugh directs the film, with accomplished cinematographer Ben Davis returning to work with him. Interestingly Davis mentions the two do not keep much contact until McDonaugh will out of the blue send him a script for the next project.

Apparently, it was decided early on in the process of the film development that it would be shot on a 'storm-swept' island called Inishmore. This presented its own challenges for Davis due to limitations of crew/equipment that would be available and the harsh weather that could grip the island. This meant Davis had to potentially strip back his cinematography and be even more creative in his approach. Quite a contrast to his normal approach considering the Marvel films he has been credited with in the last few years.

Davis and McDonaugh discuss extensively thoughts and feelings about the script before shooting. They first found that the film had quite a Western feel to it and watched many films in this genre for inspiration. Secondly, they went through parts of the scripts figuring out what weather they would want in certain scenes. This informed how they scheduled shooting and would shoot scenes based on the weather on the day. I never really thought professional shoots would be able to operate in this way and found it really interesting! Nightmare if you are in charge of making the schedules, however.

Davis decided to shoot the film on an Arri Alexa Mini LF and prime lenses. He wanted to capture the full depth in the background of shots. In the close-ups, he wanted to avoid a shallow depth of field as well. to avoid a 'big aesthetic jump' in the cinematographer. This meant shooting them at T5.6 and using more negative fill.

Found this article very insightful and I now want to rewatch this film to look at how effective the cinematography is employed in it. Plus because it's funny as shit.

#filmproduction

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karingottschalk · 1 year

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ProAV TV Shows Off Samyang V-AF Autofocus Cinema Prime Lenses

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delvenservices · 8 months

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Cinema Lenses Market Growth Opportunities & Key Players

Global Cinema Lenses Market By Type (Entry-class, High-end-class, Medium-class), By Function (Prime Lenses, Zoom Lenses), By Resolution (2K, 4K, Others), By Focal Length (Medium Telephoto (70–135 mm), Normal (35–70 mm), Telephoto (>135 mm), and Wide-angle (14–35 mm)), By End-user (Amateur, Professional), By Sensor Size (Full Frame, Super 35/APS-C), By Sales Revenue (Rental and Sales), and Region (North America, Europe, Asia-Pacific, Middle East and Africa and South America)

Market Overview

Global Cinema Lenses Market Expected to Reach a CAGR of 4.2% during the forecast period, 2021-2028.

A Cinema lenses or cine lenses lens is a lens designed specifically for the demands of cinema production. In addition to image quality, cine lens has a lot of additional responsibilities to fulfil. There are some differences between cine lens and photo lens.

Rising consumer demand for watching films based on trending topics and advanced technology for entertainment are some of the factors that have supported long-term expansion for Cinema Lenses Market.

COVID-19 has negatively impacted the film industry by halting film production and has temporarily shut down cinemas. Stringent rules and restrictions during COVID-19 pandemic has halted the shooting of reality shows, TV content, and movie production, which has severely impeded the revenue of the film industry.

Request Sample Pages of Report: https://www.delvens.com/get-free-sample/cinema-lenses-market-trends-forecast-till-2028

Regional Analysis

Asia Pacific accounts for a major share of the market, followed by North America. The market in Europe is projected to expand at a significant CAGR during the forecast period.

Key Players

ARRI AG

Canon Inc.

Carl-Zeiss AG

Cooke Optics Ltd.,

Fujinon Corporation

Recent Developments

06 October 2021 – Canon today announced the launch of the EOS VR System, a new virtual reality (VR) video production system. The system includes one dedicated lens and two computer software applications, which will be available from end-December 2021.

14 September 2021 - Canon today announced the launch of the RF100-400mm f/5.6-8 IS USM and RF16mm f/2.8 STM lenses, expanding creative options for photography enthusiasts using the EOS R system at affordable prices.

Make an Inquiry for the Report Before Buying: https://www.delvens.com/Inquire-before-buying/cinema-lenses-market-trends-forecast-till-2028

Reasons to Acquire

Increase your understanding of the market for identifying the best and suitable strategies and decisions on the basis of sales or revenue fluctuations in terms of volume and value, distribution chain analysis, market trends and factors

Gain authentic and granular data access for Cinema Lenses Market so as to understand the trends and the factors involved behind changing market situations

Qualitative and quantitative data utilization to discover arrays of future growth from the market trends of leaders to market visionaries and then recognize the significant areas to compete in the future

In-depth analysis of the changing trends of the market by visualizing the historic and forecast year growth patterns

Report Scope

Cinema Lenses Market is segmented into type, function, resolution, focal length, end user, sensor size, sales revenue and region.

On the basis of Type

Entry-class

High-end-class

Medium-class

On the basis of Function

Prime lenses

Zoom lenses

On the basis of Resolution

2K

4K

Others

On the basis of Focal Length

Medium Telephoto (70–135 mm)

Normal (35–70 mm)

Telephoto (>135 mm)

Wide-angle (14–35 mm)

On the basis of End-User

Amateur

professional

On the basis of Sensor Size

full frame

super 35/APS-C

On the basis of Sales Revenue

Rental

Sales

On the basis of Region

Asia Pacific

North America

Europe

South America

Middle East & Africa

Purchase the Report: https://www.delvens.com/checkout/cinema-lenses-market-trends-forecast-till-2028

The Cinema Lenses Market report answers a number of crucial questions, including:

Which companies dominate the Cinema Lenses Market?

What current trends will influence the market over the next few years?

What are the market's opportunities, obstacles, and driving forces?

What predictions for the future can help with strategic decision-making?

What advantages does market research offer businesses?

Which particular market segments should industry players focus on in order to take advantage of the most recent technical advancements?

What is the anticipated growth rate for the market economy globally?

About Us:

Delvens is a strategic advisory and consulting company headquartered in New Delhi, India. The company holds expertise in providing syndicated research reports, customized research reports and consulting services. Delvens qualitative and quantitative data is highly utilized by each level from niche to major markets, serving more than 1K prominent companies by assuring to provide the information on country, regional and global business environment. We have a database for more than 45 industries in more than 115+ major countries globally.

Delvens database assists the clients by providing in-depth information in crucial business decisions. Delvens offers significant facts and figures across various industries namely Healthcare, IT & Telecom, Chemicals & Materials, Semiconductor & Electronics, Energy, Pharmaceutical, Consumer Goods & Services, Food & Beverages. Our company provides an exhaustive and comprehensive understanding of the business environment.

Contact Us:

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[email protected]

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vintagelensesforvideo · 2 years

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Minolta Lenses Receive a Rehousing Treatment!

News has broken of a new rehoused lens set hitting the market! Ancient Optics – hot on the heels of their Kowa Full Frame primes and Canon FD 50-300mm zoom lens project – have teamed up once again with the team at GL Optics to rehouse the Minolta SR Rokkor lenses for use in cinema projects. The first set is already with the fine people at Old Fast Glass, and we expect more of these sets to be…

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#ancient optics #Lenses #mc #MD #Minolta #rehoused #rehousing #rokkor #SR

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digital-cameras-singapore · 2 years

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SIGMA Announces Development of 65mm T1.5 FF CINE Prime and 65mm T2.5 FF CINE Classic Prime Lenses

Today, Sigma has announced the development of two new cinema lenses along with exciting news for those looking to build their kits piece by piece. 65mm T1.5 FF CINE Prime The 65mm T1.5 FF CINE Prime features a wide aperture with a 43.3 mm image circle suitable for larger image sensors. In addition, users will enjoy 9 rounded diaphragm blades for smoother bokeh, a close focus distance of 2.17 ft…

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of-two-lands · 2 years

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44°58'23.5"N 6°03'54.8"E

youtube/oftwolands

www.oftwolands.com

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tinnuinternational-blog · 4 years

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The Leitz Thalia prime lenses offer a consistently cinematic look and feel throughout the range of 9 lenses from 24mm to 180mm with an image circle of 60mm.

We at Tinnu International offer RED Camera at the best price in India. Red Cameras are professional digital cinema cameras. View Red camera price in Indian rupees. Explore REDs modular camera system and ground breaking image quality.

Call now for more details- +91 9819846750

#leitz prime lenses price #leitz thalia lenses price #Leica Thalia Prime Lenses #Thalia PL cinema lenses #leica prime

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pannyhire · 3 months

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Exploring Cinematic Excellence in Los Angeles: Zeiss Supreme Prime and ARRI Alexa 35 Rentals

Los Angeles, often referred to as the entertainment capital of the world, is a hub for filmmakers, cinematographers, and production companies seeking top-notch equipment to bring their creative visions to life. When it comes to cinematography, two names that stand out are the Zeiss Supreme Prime lenses and the ARRI Alexa 35 Rental camera. Let's delve into the world of these cinematic gems available for rental in Los Angeles.

Zeiss Supreme Prime Rental Los Angeles

Zeiss Supreme Prime lenses have become synonymous with cinematic excellence. These high-quality cinema lenses are renowned for their impeccable optical performance, precision engineering, and the ability to capture stunning visuals with breathtaking clarity. In Los Angeles, filmmakers and cinematographers have the privilege of renting these exceptional lenses for their projects.

The Zeiss Supreme Prime lenses offer a range of focal lengths, from wide-angle to telephoto, allowing cinematographers to choose the perfect lens for any scene. Whether you're shooting a sweeping landscape or an intimate close-up, these lenses deliver exceptional sharpness, minimal distortion, and beautiful bokeh, making them a preferred choice for many in the industry.

These lenses are designed with cinematographers in mind, featuring consistent lens dimensions and a uniform front diameter, making it easy to switch lenses without adjusting camera accessories. The Zeiss Supreme Prime lenses also come equipped with a PL mount, ensuring compatibility with a wide range of professional cameras.

When renting Zeiss Supreme Prime lenses in Los Angeles, you'll have access to the latest models, ensuring your project benefits from cutting-edge lens technology. These lenses are built to deliver stunning images in a variety of lighting conditions, making them ideal for both studio and outdoor shoots.

ARRI Alexa 35 Rental

The ARRI Alexa 35 is a legendary digital cinema camera that has set industry standards for image quality, reliability, and versatility. Known for its exceptional image-capture capabilities, the ARRI Alexa 35 is the camera of choice for many top-tier filmmakers in Los Angeles and around the world.

This high-end camera boasts a large 35mm sensor, enabling it to capture breathtakingly cinematic images. With a wide dynamic range, it excels in reproducing details in highlights and shadows, providing cinematographers with the freedom to achieve their artistic vision. Whether you're shooting a feature film, documentary, or commercial, the ARRI Alexa 35's image quality is unparalleled.

What sets the ARRI Alexa 35 apart is its user-friendly interface and rugged build, making it appropriate for a variety of shooting scenarios. It's designed to adapt to various production needs, from handheld shots to complex rigs and setups.

The ARRI Alexa 35 also offers a choice of ProRes or ARRIRAW recording formats, giving filmmakers the flexibility to choose the best workflow for their project. It's compatible with a wide array of lenses, including Zeiss Supreme Prime rental Los Angeles , offering cinematographers the freedom to experiment and achieve their desired look.

Conclusion

Los Angeles is a city where cinematic dreams come true, and the availability of Zeiss Supreme Prime lenses and ARRI Alexa 35 cameras for rental adds to the allure of this filmmaking mecca. Whether you're a seasoned professional or an aspiring filmmaker, having access to top-tier equipment can make all the difference in your creative endeavours.

For those looking to elevate their cinematography to the next level, you can find Zeiss Supreme Prime lenses and ARRI Alexa 35 cameras available for rental at [mention website] pannyhire.com. This reputable rental service provides access to high-quality cinematic equipment, ensuring that your project stands out with exceptional visual storytelling. When it comes to capturing the magic of Los Angeles on film, trust in the excellence of Zeiss and ARRI, available for rental at Panny Hire.

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