Cine Prime Mod Apk Download
Annemie Zierenberg
Finally, thank you for solving subscription problem, One of the best technical support have received from this App. I have used so many applications like this but Cineprime provides prompt support. I recommend others to go with this app as it has new content with very minimal amount.
Flash forward several months and I got a call from Sigma asking if I would have any interest in testing their newly developed full prime set. I mean, when you ask a lens addicted DP if he wants to test brand new lenses the answer is always YES! A few months later, the set arrived, and I was ready to give them a whirl. I received the 14mm T2.0, 20mm T1.5, 24mm T1.5, 35mm T1.3, 50mm T1.5, 85mm T1.5 and the 135mm T1.5.
These eleven prime lenses range from 14mm to 135mm, and all offer T1.5 or T2 brightness. Rivaling a high-end prime set with their stunning image quality and compact construction, they also offer full-frame coverage. With this complete set of eleven lenses designed for 6K-8K shooting, the FF High Speed Prime Line allows filming of various cuts without making any changes to the lighting, taking cinematography to the next level of performance.
Only SIGMA could have realized these lightweight and compact cine lens lines that deliver the highest performance and unprecedented value to bring a new level of freedom and potential to the frontlines of movie production results. With the goal of providing uniquely innovative lenses and unprecedented value, SIGMA has developed its new line of cine lenses.
So I have the GH4 and I'm looking for a just one lens to use right now. I swear, this is one of the toughest decisions to make. I'm not sure if I should aim for a Rokinon or maybe the Olympus 75mm. Is there a difference between cine lens and prime lens?
Looking to invest in spherical full frame cine primes (probably 3 focal lengths) as an owner operator. Want something between clinical and vintage. Ive been looking at canon cne, zeiss cp2-3, sigma cines, dzo vespids, but thought this might be a hreat place to get some opinions and feedback on this choice for a budget of 10-20k. Thanks very much!
The 13 focal lengths from 18 mm to 350 mm in the set of LEITZ PRIME full frame cine lenses carry the name LEITZ with its exceptional heritage for a reason. They are the best of the best when it comes to their fast T1.8 aperture (180 mm T2, 350 mm T3.6), minimal breathing, exceptionally low distortion, and non-visible chromatic aberration.
The concept of DZOFILM is to explore more possibility and incorporate it into daily filming and thinking. Whether the combination among cine equipments, the interaction between time and space, or the relationship between cinematographer and objects, above of all , could be the next exploration of DZOFILM.
1.This kit has a FREE lens case, no need to add the lens case to the cart
2.Pay extra 19 dollars to get a microphone mp2 or 169 dollars to get a wireless mic(1transmitter and 2 receivers)
3.These microphones are only sold in bundles with the cine lenses.
4.The color of X, E, mounts is different from the RF mount.
The optical and mechanical design of the Meike primes appears to bear a striking resemblance to that of the original Veydra lenses, but there are a few key differences. The Meike lenses are claimed to be optically and mechanically better.
Meike already makes cinema prime lenses for M4/3, APS-C, and full-frame sized sensors. Lenses are available in Sony E-Mount, Fujifilm X-Mount, and M4/3 mount. The 35mm T2.1 Full-Frame lens is available in PL/EF/RF/E/L/Z mounts.
No lens technically has zero breathing, but very good cinema glass has such minimal amounts that it is virtually impossible to see. What you will always see is some perspective shift which is normal when refocusing a lens.
Nice bokeh is something you want if you are purchasing a prime lens. Despite only having a T2.1 maximum aperture, you can create some nice bokeh because the lens has 11 aperture blades. The bokeh produced is reasonably nice and round and you can create some beautiful out of focus areas by using the lens wide open. Wide-open at T2.1 you can see some chromatic aberration and color bleed on the bokeh, but only if you look very carefully. Again, in the real world, this is not something that I think most people will notice.
The color tone of a lens is really something you should look at closely if you are going to be using both prime and zoom lenses from different manufacturers. Certain prime and zoom lenses work better together than others. What will work for you will also depend on what camera you are using.
As far as affordable Canon EF or PL mount cine prime options are concerned, lenses like the SLR Magic APO MicroPrime Cine lenses and DZOFilm VESPID 35mm T2.1 Lens are direct competition. They have the same T-stop and are all relatively close when it comes to price. However, the SLR Magic only comes in EF mount.
With lots of relatively affordable full-frame digital cinema cameras such as the Canon C500 Mark III, Sony FX9, Sony FX6, Kinefinity MAVO LF, and the Z CAM E2-F6 Full-Frame 6K and 8K now available, as well as a plethora of full-frame mirrorless cameras, buying full frame lenses makes a lot of sense.
The enhanced 40mm T1.5 FF High-Speed Cine Prime from Sigma combines the same high-quality optics and mechanics of its FF prime line with a cine-oriented design that includes Cooke /i Technology that provides lens metadata to assist in post and visual effects production. This 40mm prime with a PL mount is a midrange focal length in the series, offering full-frame sensor coverage, 6 to 8K resolution, lens markings in feet, and a T1.5 aperture in a compact, relatively lightweight form.
8K ResolutionOptics are coated to help eliminate veiling glare. The performance of sharpness, color reproduction, distortion control, and optical aberration control on this lens set can be said as good as many high-end cine lenses. Even big-budget productions can be handled pretty well.
SIRUI Jupiter Series is available in native PL/EF mount, compatible with most professional cinema cameras on the market. E-mount and RF-mount adapters are offered for use on a wider range of popular full-frame mirrorless cameras.
I was encouraged to try them out at a Cinegear in LA and ended up getting the entire set in RF mount.
When you have a 6K camera, you need to have the resolving power and these babies (for all intents and purposes they are tiny) deliver!
Something very important about the history of these lenses, they were designed from the ground-up as cine lenses without taking a stills lens and striping it out and doing a conversion.
First on the practical aspect,
Gears are in the same position for the entire set.
Filter thread is ø 77mm and front diameter is ø 80mm across the set.
The red section of the barrel near the lens mount is a consistent ø 65mm which is rather important because it allowed me to attach The Lens Cuff and mount a focus motor directly on the lens while leaving the front entirely free for use with a matte box.
The damping of the focus and iris rings is consistent and buttery smooth.
Focus markings are accurate.
All that ties well with the all metal construction while keeping the weight down.
As for the optics themselves,
Distortion is kept to a minimum, being barely noticeable even on the 10mm.
Breathing is very well controlled and only if you put some effort you can see it.
The coatings work perfectly to eliminate aberrations and flaring while contrast and colour accuracy are comparable to lenses with a few zeros added to the price tag.
And the curved aperture blades render a pleasing out of focus bokeh.
In short, I absolutely love working with the Meike Mini Primes and the fact that I can fit the entire set in my backpack with two RED Komodos and a laptop, makes them the best Cine Travel Set!
Although I certainly shouldn't be considered an expert, I do think these lenses are wonderful. Nice and creamy, with great bokeh. I use a BMPCC 6K and I had been shooting with Canon SLR lenses and while nice, they were also limiting. I'll still use them sometimes, but now when I reach for a prime, it wil most likely be my Meike leneses.
I was unaware that they had the RF mount available for these and decided to go with those as I have 2 Komodos. These do not disappoint at all. They are fast to pull focus on and the image is absolutely cinematic. They are clean but not in a sterile way. I went with the complete set they have and I am hoping they come out with the 24mm version in the RF mount. They are also super light for gimbal work. They are also matched in terms of using a follow focus system so you do not have to keep moving the motors around when you change the lens. I am literally considering getting another set since I have 2 Komodos and will be able to keep a matched system for those moments I need the same focal length on both cameras. Revar Cine also delivered these far sooner than I was told which is another plus!
Revar Cine is a world class boutique optical manufacturer offering fine optics and accessories for cinematography. We lead the industry with the first double wheel Rota Pola. We offer the finest quality glass hand selected for maximum performance. Experience our high quality products and unsurpassed personal customer service.
Whether you are shooting a commercial where exquisite color rendition and high contrast is important, or a tense, dramatic sequence in low light situations for a feature film, ZEISS cinematography lenses offer you the performance you need to get the scene right. With a wide range of focal lengths in twelve different lens families each tailored for your needs, ZEISS cinematography lenses give you always the best quality to make your project stand out.
The ZEISS Know-How Hub is our central spot, where we take a closer look at different optics topics and technologies. Our goal is to help you better understand the more technical aspects of not only our products and services but also cinematography lenses in general and how technology can support you in your artistic pursuit. We will add new topics to the Know-How Hub on a regular basis.
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