By Dan Chung

Wide angle users with APS-C/Super35mm cameras are well catered for by the excellent Tokina 11-16mm f2.8. It’s my personal favourite ultra wide angle zoom thanks to it’s constant f2.8 aperture and 77mm filter thread size. It is now firmly established as the number one choice for many large sensor video camera shooters because there is no direct equivalent from Canon or Nikon. Duclos lenses makes an excellent conversion of this lens which adds better geared manual focus, aperture rings and optionally a PL mount.

This week Nikonrumors.com is reporting that Tokina has announced a version 2 of the lens which they have said has a new aspherical element, ultra-low dispersion glass and faster autofocus motor (not that I would use AF for video with this lens). It’s too soon to say if this version 2 lens is substantially better than the old one, but if it is then it is sure to be popular. Availability is said to be March for the Nikon fit version and July for the EOS one.

By Dan Chung

Right in time for the launch of the Nikon D4 and Canon EOS-1DX comes an elegant front filter solution from Fotodiox that allows the use of screw in neutral density filters on the popular 14-24mm f2.8 Nikkor lens. The lens is very sharp and has been very popular with both Nikon and Canon shooters (who use a G lens adapter) looking for a fast ultrawide zoom. There are few full frame alternatives and none at f2.8.

For video DSLR use there has always been the issue of how to fit a ND filter. Up till now there hasn’t been any simple screw in solution for an ultra-wide zoom lens on full frame cameras. The only option was to add ND to the Nikkor 14-24mm was to put gels on the back of the lens, or buy a custom Lee filter square filter holder.

The Fotodiox solution consists of a metal adapter ring that attaches to the lens that has a huge145mm filter thread on the front and a custom lens cap. ND filters in this size would usually be quite expensive but Fotodiox offers their own moderately priced ND4 and ND8 filters along with a circular polariser. Hopefully they will bring stronger ND filters as well soon. The price for a kit with the adapter, cap, ND4 and ND8 is $299.95.

You can see more about here.

By Dan Chung

I’ve just spend a fascinating two days at Canon’s European launch of the C300 cameras in Berlin. Whilst the camera was the star of the show Canon also took the opportunity to unveil four new prototype Cine lenses currently under development.

They would not give exact specifications and the prototypes were kept safely behind glass.

The most interesting lenses were a new wide zoom and tele zoom. These are much smaller than the already announced 14.5-60mm and 30-300mm lenses and I’m told they should be cheaper too. They only showed the lenses in an EOS mount, it’s unclear if PL mount versions will be offered.

There were also two new EOS Cine primes to add to the three launched with the camera. Focal lengths were not specified but one looks to be a ultrawide, perhaps a 14mm or 18mm.

Also in the cabinet was the prototype Canon 4K Cinema DSLR. Nothing new was said about the camera and Canon would not commit to any possible launch date.

I’ll be giving my considered thoughts on the C300 in a later post so stay tuned.

By Matt Allard

Villa 9 from Matthew Allard on Vimeo.

I spent a week in Bali on a break recently and decided to make a short little film. I didn’t plan to do this beforehand and had only taken equipment to take photographs, so this is a good example of what you can do with the absolute basics. 

I had a Canon 7D, Tokina 11-16mm f2.8, Canon 50mm f1.2 and a Canon 100mm f2.8 macro (non IS). The only other things I had were a mini light stand and a gorilla pod. I didn’t have a Z-finder, monitor, slider, audio, ND faders or anything else with me.

Does shooting without those things make a huge difference? Well, yes and no. The essence of good filming is to do the basics well and to work within the limitations of your camera and kit. By understanding the limitations of your camera you can still go out and shoot something nice without the plethora of accessories. Your camera, lenses and especially you are the three most important elements of any shoot –  the foundation stones, if you will. Everything else is just the plaster and paint that help make it look prettier.

What did I miss the most? I would say ND faders. They do make your job a lot easier. Having to stop down the camera a lot to avoid running too fast a shutter speed was the biggest obstacle I faced.

Not everything needs to be super-shallow depth of field. If you don’t have ND faders, adapt to shoot without them. Stop your lens down but use distance and separation between objects to achieve a similar result. A great lens for doing this is a macro lens. Even stopped down, by its very nature, a macro lens is designed for close focus. You can use it to great effect to create shallow depth of field, without it having to be at f2.8.

If you don’t have room for a big tripod, then improvise. A small light stand, a Gorillapod or anywhere you can place the camera where it is supported and steady will do. A table, a chair or even a rolled up shirt or towel will help you get the job done. If that is not available then rest the camera against the side of a wall or any other object that will prevent shake. A lot of hand-held DSLR material looks truly awful. As a famous cameraman once told me: “Don’t shoot anything hand-held that you can shoot off a tripod.”

There are certain times when hand held is the only way to shoot something, but don’t be lazy and go hand-held for wrong reasons. Even without a tripod you can find things to make your shots steady.

Don’t be fooled into thinking you need every accessory under the sun to shoot something good. Yes, they can help and add extra elements to your shoot, but they aren’t essential.

Master the basics first such as composition and framing, and understand how your camera works before you take the leap into sliders, hand-held rigs and other accessories.

You don’t need to spend a fortune on equipment to get good results. Sometimes less is more.

About Matthew Allard, Aljazeera Senior Field Cameraman, Kuala Lumpur:
Matt has been a Camera/Editor in TV news for more 20 years, previously working for both Channel 9 and Channel 10 in Australia. Twice Network Ten Australia’s cameraman of the year as well as being a Walkley Finalist for outstanding camerawork in 2006 (for coverage of the Cronulla Race Riots) and a Logie Finalist for outstanding news coverage 2006 (Bali 9). He is a multiple ACS (Australian Cinematographers Society) award winner. His Sword Maker story that was shot on a 7D won the prestigious Neil Davis International News Golden Tripod at the 2011 ACS Awards. He has covered news events in more than 35 countries, from major sporting events to terrorist bombings. Based out of the Kuala Lumpur broadcast centre in Malaysia he is an avid user and follower of new technology, shooting stories on HD broadcast cameras, the Sony F3 as well as new Canon DSLRs.

By Matt Allard

Lenses should be the most important part of your kit. Camera bodies come and go, but good glass can be used for a lifetime. Testament to this is that 20- to 30-year-old lenses can still look fantastic on your camera. Over time they have been refined – auto focus and stabilization may have been added – but the basic design remains the same.

You should always try to buy the best lens you can afford. You are better off spending more money on your lens than getting an expensive camera body and a cheap kit lens. In most cases you get what you pay for, but there are always exceptions. If you only have enough money for a Canon 5DmkII body and a cheap lens, you are better off getting for example a Canon 60D and spending more money on a better piece of glass. You can keep quality lenses forever but your camera body can become outdated in a matter of years. Another very important thing to remember is try to buy a lens you can use on multiple cameras as this will save you a fortune down the track.

The first thing you need to consider is whether you are going to use the lenses for stills as well or just video. For photo and video you are going to want a lens that has autofocus. Manual focus for photography can be a major hassle, depending on what you’re shooting. Go and try to shoot some fast-moving action with a manual focus only lens and you will be tearing your hair out. You just can’t focus as fast as a good auto focus system. 

But for video, manual focus is crucial. You can’t be in the middle of shooting something and have your lens whirling around trying to grab focus during a shot. Lenses by Canon/Nikon/Tamron/Sigma etc that have both manual and auto focus are your best option if you plan to shoot stills and video. A lot of modern day lenses also offer image stablizers (often referred to as IS or VR) which can make a big difference to your photos or video.

If you want lenses just for video then you need to consider other things. For example, if you buy a Canon EF lens for, say, your 7D you have no ability to change exposure smoothly during a shot as the aperture is controlled by a clicked dial on the rear of the camera. The other problem is that Canon EF lenses don’t work fully on anything other than a Canon body. There are adaptors from Birger and other companies that are coming out that will allow you to use EF glass with full aperture control for cameras like the Panasonic AF100, Sony FS100 and the Sony F3,  but they will not be cheap. So for video your choices are a bit harder. You ideally want a lens that allows you to manually control the aperture and has manual focus. Even manual aperture lenses do have hard aperture stops but you can get them declicked to offer smooth iris control.

The second thing you have to decide is whether to get a prime lens or a zoom lens. There is no right or wrong choice here: it comes down to the individual operator and what he or she needs the lens for. Zooms can save you a lot of time as you don’t have to keep changing lenses, you don’t have to move around as much and you don’t need to buy as many lenses. When looking at a zoom lens you want to make sure you get something that has a constant aperture eg f2.8. If you have a zoom lens with variable aperture, the aperture will change when you change the focal length – this is a major pain for video. Additionally some zoom lenses (known as varifocal) do not maintain the focus throughout the zoom range meaning that you have to refocus every time you zoom – another major pain. In the ideal world your zoom lens would be fixed aperture and maintain focus (parfocal).

Combinations
A good example combination for a Canon APS-C sized sensor camera like the 7D or 60D would be a Tokina 11-16mm f2.8, a Canon 17-55mm f2.8 and a Canon 70-200mm f2.8L (or f4). This would give you 3 lenses that would cover a large range at fast aperture. Add a 1.4 or 2x teleconvertor and you would extend this range even further. If you were using a Canon 5DmkII you would just get a Canon 16-35mm f2.8 instead of the Tokina and a Canon 24-70mm or Canon 24-105mm instead of the 17-55mm. These are just examples as there are other brands out there that you could use. 

Your other option, if you’re just using your lenses for video, is to get older Contax/Zeiss or Nikon manual focus only lenses (either zooms or primes). You can now also get old manual focus Canon FD primes adapted to fit EOS cameras or other cameras like the NEX. Optically a lot of these lenses are older designs but many are still very good and it would save you a lot of money.

Some of the super zooms on the market will allow you to cover a huge range. For example I used the Tamron 18-270mm f3.5-f6.3 on a Sony F3 during the Japan tsunami/earthquake. It gave me a super range without me having to change lenses. I did this as a compromise for time over quality. Is it a good lens? Not really. It looked ok on the F3 although this lens is supposed to be used with the inbuilt stabilization on, so when using it on the F3, every time there was wind or lots of movement the whole picture turned to jello. I have also heard that this lens looks terrible on say a 7D. 

My advice would be to stay away from this sort of lens for video work. I think these super zooms are much more suited to travel photography rather than video. For me, when I do use zoom lenses, I never tend to use them as zoom lenses anyway. When I use the Canon 70-200mm I’m normally either at 70mm or 200mm. I rarely use anything in between. So you need to ask yourself whether you will be using the zoom as a zoom or just using the two extremes of the range.

Personally, I much prefer using prime lenses over zooms. Zooms can make you very lazy. You stay in the one spot and just zoom. Using primes makes you think more about your shot and forces you to move your feet. If your feet aren’t glued to the floor you will discover new angles that maybe you would never have seen if you were using a zoom. Primes also have the added benefit of being much faster lenses. The look of, say, a f2.8 zoom lens and a f1.2 prime is completely different. Don’t get me wrong; there are some fantastic zoom lenses out there, but they just don’t have the same look as a good prime lens. Fast zoom lenses are good but fast primes are great. 

Also, most lenses are optically not at their best when their apertures are wide open and tend to perform better when they are stopped down. This may be vital with stills, but I don’t think it’s as important when shooting video. Your stills lenses are designed, in the case of a full frame, to cover a huge sensor at high resolution; when you’re shooting video the image is getting reduced to a much lower 1920×1080 pixels. At this frame size the lens isn’t really getting pushed very hard. Personally I am comfortable with the quality of the results when shooting most of my lenses wide open.

People using DSLRs for video these days have in my opinion an over-fascination with shallow depth of field. You don’t need it on every shot you do. Of course, if you want super shallow depth of field then you need fast primes. Primes also, of course, offer the benefit of being in most cases very fast and therefore very good in low light conditions. I can tell the quality difference between a really good prime lens and a stills zoom quite easily. One of my favorite lenses is the Canon 50mm f1.2. It is way more expensive than the Canon 50mm f1.4 and you could buy about 20 Canon 50mm f1.8 lenses for the same money – but in my opinion it is worth every cent. For me 50mm is the lens I use the most. If you are planning on buying a really good quality lens, buy it in the focal length you use the most.

Build quality is very important to me. In most cases, the more expensive the lens, the better the build quality. The Canon L series for example are built pretty toughly. A prime example the Canon 50mm f1.2L as opposed to the Canon 50mm f1.8. Yes the Canon 50mm f1.8 only costs around $80 but if you drop it from just a few feet it will probably never work again. Good build quality also means there is less chance of moisture or dust getting into your lens.

Depending on the type of work you’re doing, build quality may not be a major factor for you; for example, if you’re very careful with your equipment and don’t travel much. If you’re constantly in challenging environments and travelling a lot then you need something built to withstand the conditions. Next time you’re shopping for a lens, pick it up and feel the weight, see what it is made out of and ask yourself: “If I drop this, will it be ok?”   Of course, even if you have something as solid as a Canon 50mm f1.2L, if you drop it straight down onto the front element it may not survive. One common alternative option are the Zeiss ZF and Zeiss ZE series – built like tanks with solid metal and not plastic.

Then there’s flexibility: can I use my lenses on multiple cameras and across multiple manufacturers? If you want the greatest flexibility you want to buy lenses that you can use on lots of different cameras. The problem up to this point (although people are working on it) is that if you owned say a Canon 5D and you wanted to buy a Sony FS100, but all you owned were Canon EF lenses, you couldn’t use them. If you have invested thousands of dollars in lenses you want to be able to use them on whatever the next camera is that you decide to buy. 

I have a wide variety of lenses from Nikon, Canon, Tokina, Sony and Zeiss and my favorite lenses are my Zeiss ones. There is just something about the look of them. They are also extremely flexible. In a Nikon mount they offer manual focus (albeit in the opposite direction to Canon) and manual aperture control. Using inexpensive lens adaptors I can use these lenses on Nikon DSLR, a Canon DSLR, my Sony F3 and even my Sony NEX-5. Although I love my Canon L series glass I can’t currently use it on anything else (with the exception of the Sony NEX-5 without aperture control).

What matters is the lens that is right for you: think about what you normally shoot and how you shoot it. Factor in price, speed, f-stop, build quality and flexibility and determine what your requirements are. There is no substitute for really good glass; it can ultimately determine the quality of your finished product. Remember too that you are the artist – your camera and lens are just the palette and brush.

There are way too many lenses to cover in this post so if anyone has any questions, feel free to ask here below and I’ll be happy to help you out.

About Matthew Allard, Aljazeera Senior Field Cameraman, Kuala Lumpur:
Matt has been a Camera/Editor in TV news for more 20 years, previously working for both Channel 9 and Channel 10 in Australia. Twice Network Ten Australia’s cameraman of the year as well as being a Walkley Finalist for outstanding camerawork in 2006 (for coverage of the Cronulla Race Riots) and a Logie Finalist for outstanding news coverage 2006 (Bali 9). He is a multiple ACS (Australian Cinematographers Society) award winner. His Sword Maker story that was shot on a 7D won the prestigious Neil Davis International News Golden Tripod at the 2011 ACS Awards. He has covered news events in more than 35 countries, from major sporting events to terrorist bombings. Based out of the Kuala Lumpur broadcast centre in Malaysia he is an avid user and follower of new technology, shooting stories on HD broadcast cameras, the Sony F3 as well as new Canon DSLRs.

So NAB is all over for another year and even with a team of three covering the event it’s impossible to check out everything that you would like to. Here’s a quick rundown of a few lenses and filters we thought were interesting but either had no time to video or felt was sexy but not appropriate to the news shooter:

First up is the new Redrock Micro follow focus v.3 which was shown last year in prototype but is now working and due to ship soon. It’s a big improvement over the popular v.2r and we’ll wait and see how much that has added to the cost.

Birns and Sawyer were showing the new 4×4 ND fader from Lightcraft Workshop. This matched pair of filters is similar in concept to the Schneider vari-ND we filmed earlier int he week – but comprises two 4×4 filters instead of just one and a screw-in. Designed to be used exclusively in a Mattebox I’d be interested to see how it compares to the Schneider.

Budget follow focus makers D-Focus were showing a nice prototype budget mattebox. It is pretty lightweight and has a swing away option. Price is not set yet but I’m told it will be very competitive.

Next up is this lovely looking PL conversion by Century of Canon’s 17mm tilt shift lens. Quite how you attach a follow focus to a tilted lens I don’t know, but it looks sexy none the less.

Fujinon showed a cine lens that simply rocks, sadly it weighs more than my kit bag and costs more than some luxury cars. Again not one for the news shooter but oh so nice.

A Japanese manufacturer was showing the popular Tokina 11-16mm lens professionally converted to NEX mount. This is easily done with an inexpensive convertor but this is a proper conversion with proper aperture markings. It would be ideal on the upcoming Sony Nex FS-100. Sadly it’s not going to be cheap.

Lastly if you can’t afford any of the other new gear at NAB then maybe you can simply dress up your old lens with a tiger striped skin from lensskins.com.

Since Lens Doctor Eddie Houston introduced the Fluid Variable Aperture on this blog a few months ago he says his business has gone tremendously well, so much so that – after an initial trial using the FVA installed into Nikon and Leica R lenses – the BBC have commissioned him to install the aperture system on all their stills lenses.

I’ve had quite a few of my lenses converted this way now and can testify to how well they work. It has worked especially well with my older Leica and Canon FD manual focus glass. I have other de-clicked Leica R lenses but the aperture on these has a tendency to move on its own due to the springs in the aperture system. The Lens Doctor version does not – a great help. After adding a True Lens Service 80mm lens donut, a Zacuto lens gear and a Leitax Leica R to EOS hard mount I have a newly ‘cinemized’ lens.

Eddie added: “I have a further development to the Fluid Variable Aperture system that is currently going through patenting. This will be the introduction of a gearing system with SLOW-NORMAL-FAST selection and it will also include the segmentation of the aperture down to 1/32nd increments. This will allow cameramen or movie makers to maintain a constant aperture if there is a break in filming for whatever reason (such as weather or light). They will be instantly able to mark the aperture where they stopped and set the same aperture value again when filming recommences – vital to cohesive filming and precise editing. This will be available in mid summer and we will be able to retrofit it on manual lenses. We have tested the system on Canon, Zeiss, Leica, Olympus and Nikon so far.

“On another note, permanent conversion of all FD lenses to EF is just about completed. This involved the purchase of precision machinery and some final tweaking should see the offering of this service in a few weeks. I’m sure this will delight older FD lens owners, especially those of the long white L lenses like the 300mm, 400mm, 500mm, 600mm and 800mm. These were always susceptible to poor conversions by others in the past; now with the Lens Doctor professional mount it will perform as a manual EF lens.

“There has always been a problem in the conversion of the older Breechlock lenses and I have completely redesigned the rear end of the Breechlock FD lens. It will come with a new rear mounting, completely removing the aluminum serrated locking ring.

“I have also been approached to offer the Lens Doctor service in two other countries, the USA and Sweden. Although these discussions are in early stages it looks like the service will involve vendors offering lenses fully converted with the Fluid Variable Apertures from their outlets. If any other people are interested in offering this service in their countries, please contact me at ehouston@talk21.com“

You can find more details of the conversions on www.thelensdoctor.co.uk.

Eddie Houston used to be a guitarist playing alongside the likes of Thin Lizzy and Status Quo. Before that he was a technical manager for Canon back in the days of the old FD cameras and lenses. He has now returned to his photographic roots and is running a small family business selling and servicing old stills lenses. Based in Scotland he has gained quite a reputation recently. Manual lenses are often better suited to video than their AF counterparts because they have a smoother, more damped manual focus action along with manual aperture control. The excellent Carl Zeiss ZF range of lenses are probably the most popular and best known examples of manual lenses that are well suited to video. There are however a great range of other older lenses that can be easily adapted to your EOS, Nikon or Micro 4/3 HDDSLR – these are what Eddie specialises in.

I had the opportunity to meet up with Eddie when I was talking at a Canon event in Glasgow. We talked old lenses and got to discussing lens de-clicking of stills lenses for video use. I left a few vintage lenses for Eddie to experiment with and he recently returned them to me after a full service and his own version of de-clicking called the ’fluid variable aperture system’ installed.

For those who don’t know about de-clicking, most manual focus stills lenses have an aperture iris that is controlled in click stops as opposed to a continuously variable aperture like those found on Cine lenses. The problem is that these click stops don’t allow you to set a precise aperture in between the marked stops. When you vary it while shooting video the iris will not close smoothly but rather in steps with a clicking noise. This is clearly not ideal for video. A stills lens can de-clicked but care has to be taken and lubrication added to make sure the aperture runs smoothly – a job for a skilled technician.

Below is a little test video I made using an old Tamron 90mm f2.5 SP macro lens that I had lying around. It’s super sharp and now with the ‘fluid variable aperture’ fitted it makes a useful video lens. It’s easy to fit to an EOS camera using a cheap adapter from Ebay.

Tamron 90mm de-clicked by the Lens Doctor from Dan Chung on Vimeo.

Eddie was dissatisfied with how slack the aperture control was on my lenses when he de-clicked them, claiming that they were disturbed by even the slightest movement. He wanted to make the aperture fully variable but still easy to set in a specific position, to do this he made the resistance on the aperture ring more positive and fluid. I am really impressed with the results and plan to have more lenses de-clicked by Eddie asap. He has since opened up this service to everybody, cost varies from lens to lens as not all lenses are the same. You can contact him directly at enquiries@thelensdoctor.co.uk to discuss your specific requirements. You can also buy pre-modified lenses from time to time on Eddie’s Ebay store.

One question I am asked a lot is whether older Canon FD lenses can be converted to work on an EOS. Generally the answer till now has been no because of the 42mm flange focal depth of FD bodies being shorter than the 44mm of an EOS body. There are some adapters with an optical element in them to compensate for this difference, but the third party examples of these are generally not high quality and I do not recommend them. Canon used to make such an adapter for their FD Super telephoto lenses but these are super rare and usually expensive secondhand. A few FD lenses have been successfully modified to EOS in the past, I remember Vincent Laforet used to have a FD 35mm Tilt and Shift lens converted for EOS use.

In early 2011 Eddie will be offering a service to permanently convert Canon FD lenses to EOS/EF fitting without the need for corrective glass, this is under development at the moment and he already has a small selection on offer but plans to increase the range over the coming months to include all FD lenses. I predict he is going to be very busy when this service starts.

Another thing Eddie has on offer is his own special build FD 50mm F1.4 with a ‘chrome nose’. These are specially built, Eddie adds Super Spectra Coatings to the glass and add another iris blade to the system. The regular Canon FD 50mm F1.4 has only seven blades, this special build has eight, creating a much smoother bokeh. I have yet to see one and am very curious indeed.

For more information on Eddie and his other services you can check out his website here.

(Note – If you are based in the US then the best place to send your stills lenses to be modified is Duclos lenses. The run an excellent service where a lens can be declicked, a follow focus gear added and a 80mm standard size lens front added. I highly recommend them also.)

I wouldn’t normally highlight a Cine style lens here on dslrnewsshooter as I don’t think they necessarily the best solution for run and gun style shooting. The long focus ring rotations of often nearly 360 degrees are specifically designed for accurate pulling of focus in a film environment with a follow focus and camera assistant. For lone shooter real world environments I feel that the shorter focus ring travel of something like a Zeiss ZE, ZF or Canon Tilt Shift lens is more desirable, these usually have shorter rotations of between 1/3 and 1/2 a turn, a lot more like a broadcast lens on an ENG camera.

Duclos Nikon 70-200 f2.8 conversion from Dan Chung on Vimeo.

This latest PL conversion by lens expert Matt Duclos is a little different. The lens starts life as a regular Nikon 70-200 f2.8 VR II lens but improves it by adding a smooth manual aperture ring. He then alters the short throw focus gearing of the stock lens to a super smooth cine style one – but with only about a half turn rather than a 360 degree one, this makes it really very practical for run and gun shooting. He also reverses the focus direction to match a Canon or Cine lens and changes the Nikon mount to a special universal one that will fit Canon EOS, Cine style PL and others. Obviously with these modifications you loose any autofocus but the result is something quite spectacular. The image this lens creates is as good as the best I’ve seen from a tele zoom.

The only reason I won’t be running out to get one of these right away is the cost – estimated by Matt to be a mere $10000 US. That said I think this lens would be a worthwhile investment as its pretty future proof with the interchangable mounts and way more usable for video than the stock Nikon version.

Duclos 70-200 prototype testing. from Matthew Duclos on Vimeo.

I love Carl Zeiss lenses and own a small collection of the new Zeiss ZE primes along with some of the older Contax fitting Zeiss lenses which can be adapted to use on EOS. One of the Contax fit lenses I loved the most for videography and photojournalism is the 35mm f1.4 but until now it has not been available in the newer ZE or ZF mounts. That has just changed with Zeiss launching an updated version of the classic lens with even better mechanics than the old one and a fantastic bokeh. Check out the lens in this interview at PhotoCine Expo with Richard Schleuning of Carl Zeiss which also includes some sample footage from an early copy of the lens.

Carl Zeiss introduce the 35mm f1.4 ZE and ZF lenses from Dan Chung on Vimeo.