For example, Nikon, Canon, and M34 all have a locking pin that keeps the lens set in it’s place and you push the little button to release the pin. All three of the still photo mounts I mentioned have their limitations that can really disrupt a cinematographers flow. So why is everyone trying to slam a PL mount on their grandfathers old set of Nikon AIS lenses? It’s simple. More and more cinema is moving over to Nikon F, Canon EF, and even the Micro 4/3 standard.
CINESCOPE TLS PROFESSIONAL
The PL (Positive Locking) mount is large enough to accommodate sizable rear elements and strong enough to support the largest of professional cinema lenses (with proper support of course). The PL mount is an excellent standard that Arri gave us several decades ago and has been the industry standard alternative to Panavision’s camera mount ever since. Continue reading “Sigma Steps Into The Spotlight With New Cine Zooms and Primes” →įor the Canon CN-E Primes PL Conversion, click here. Let’s take a look into the future of Sigma Cine. Sigma has taken it upon themselves to carry out what so many have asked for over the past couple of years Manufacture a high quality, fast, lightweight range of zooms and primes direct from their factory in Aizu, Japan. Good for them… But alas, we can finally admit to the real reason why Duclos Lenses has avoided such a project. I would consistently, politely decline citing high cost or some other hurdle that made such a project unattractive to my organization which was generally met with the oh so annoying “Well, this other company in China does it for real cheap”. For the past couple of years I would receive an email or phone call about twice a month asking if we had plans to convert the Sigma 18-35mm and/or 50-100mm to a cine lens.
This one has been a long time coming and I couldn’t be happier to be breaking this news to all that have waited so patiently.
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