Laowa released their first probe lens in 2018, a 24mm f/14 Probe featuring a ‘snorkel’ design. By 2022, they introduced the 24mm T14 2X Periprobe lens with an interchangeable 90° front element. My colleague Nino Leitner reviewed both lenses; you can read his review of the 24mm  f/14 Probe lens here and the 24m T14 Periprobe lens review here.

Meanwhile, in 2023, Laowa unveiled the 24mm T8 2X Macro Pro2be three-lens set, featuring a cine lens-style design and a faster T stop. The three lenses include a 35° View Lens, a Direct View Lens, and a Periscope Lens. The Laowa Pro2be can be purchased as a set, or each lens can be purchased individually.

Now Laowa is giving cinematographers and macro filmmaking and photography enthusiasts a sneak peek at their next probe lens, the ultra-wide 15mm 2.3X Probe Zoom.

Laowa Probe Zoom Lens – what we know so far

Laowa has only released a few details about the new ultra-wide 15mm Probe Zoom lens. What we know is that the lens will offer three distinct views: direct, 35° tilt, and periscope. Having a zoom allows for easier adjustments when shooting macro. Judging by the image tease released by Laowa, they could be following the route they took with the Pro2be lens and releasing three separate lenses.

• 15mm at the widest.
• Par-focus 2.3x zoom range (about 15-35mm range).
• Up to 2X magnification.
• Direct, Periscope, and 35° Tilt, resulting in dynamic angles and creative options.
• Overall sharpness for high imaging quality.
• The tubular barrel is waterproof, making this a versatile lens that can be used in multiple environments.

Price and availability 

Laowa is promising more details with an official unveiling soon. The price hasn’t been revealed yet, either, but the 15mm 2.3X Probe Zoom will be available to ship during Q2 of 2025. To give an idea of the pricing of their most recent probe lens, the three-piece Laowa 24mm T8 2X Macro Pro2be Lens retails for $8,499 for all three lenses, while each ranges in price from $2,849 to $3,349.

The timing of Laowa’s tease of their new 15mm ultra-wide probe zoom lens is interesting. On the same day, DZOFILM introduced its own wide-angle zoom probe lens, the X-Tract 18-28mm T8. As with the Laowa probe lenses, the X-Tract’s ‘snorkel’ design allows it to access more hard-to-reach places. The DZOFILM probe zoom lens will retail for $3,499. Check out the details here.

Are you currently using a probe lens to film macro scenes? What are your thoughts on Laowa’s Probe Zoom lens? Please let us know in the comments below!

Tokina Cinema first introduced the Vista-P at the end of 2023, and it is based on the Vista Primes, which have been used on shows like Ted Lasso and Loki. These new lenses are precisely tuned at the factory to have a vintage look via spherical distortion while remaining very sharp in the center. They are re-engineered by moving the placement of the lens to achieve the spherical distortion and vintage look.

The initial set of Tokina Cinema Vista-P lenses included 18, 25, 35, 50, and 85mm focal lengths, all at a maximum aperture of T1.5. The company later added 40, 65, 105, and 135mm lenses, also at T1.5.

The main feature of the Vista-P series is the vintage look with a sharp center and swirl-type distortion at the edge of the frame. It appears like “Helios-44 or Petzval seen in actual vintage lenses,” per Tokina Cinema. The lenses cover VistaVision-sized full-frame image sensors (46.7mm image circles) and have a 114mm outside diameter. There is a wide range of supported mounts, including Sony E, EF, PL, LPL, and MFT.

If you already own Vista Prime lenses, it is possible to send them to Tokina’s factory in Japan to have them converted to Vista-P glass. Keep in mind that the conversion cannot be reversed.

Tokina Cinema adds 21mm and 29mm cine primes to the Vista-P series

With the addition of the two new wide-angle cine primes, the Tokina Cinema Vista-P series is a fairly complete set of glass, from 18mm to 135mm. As with the other lenses, the 21mm and 29mm feature a very fast maximum aperture of T1.5 and the type of handling expected with modern glass.

While the lenses feature a vintage look, Tokina Cinema explains that stopping down will give a more modern and clean look. The company also explained that the distortion is more pronounced at the VistaVision and full-frame intended area of definition. Using S35 or smaller format cameras will lessen the effect.

Could Tokina Cinema introduce other Vista-P focal lengths? It is possible since there are a couple of other Vista lenses available. These include 100mm T2.9 Macro and 180mm T2.9, but the slower maximum aperture may eliminate the possibility of those lenses from joining the Vista-P series, which is at T1.5.

Price and availability 

The new 21mm T1.5 and 29mm T1.5 each cost $8,999 and are available for preorder here and here, respectively. Since the lenses are precisely tuned at the factory, they are considered special orders. Learn more at Tokina Cinema’s Vista page.

Are you using the Tokina Cinema Vista-P series of lenses on your film and other projects? What are your thoughts on the new focal lengths of 21mm T1.5 and 29mm T1.5? Let us know in the comments below!

Lens maker BLAZAR says their APEX is the world’s first line of anamorphic lenses that feature autofocus. Unveiled at IBC 2024 back in September, the first two lenses are a 35mm T1.8 1.33X and 50mm T1.8 1.33X. BLAZAR received the CineD Award for Best Lens Innovation for these new lenses. The first lens available for preorder is the 50mm.

Firmware update V2.0.2 – details 

The firmware update V2.0.2 for E-mount cameras addresses a lens compatibility issue with some Sony cameras. Plus, it helps with the overall performance of the BLAZAR APEX 1.33X T1.8 50mm AF.

• The firmware helps to resolve a compatibility issue between the lens and Sony full-frame cameras, including the FX3. 
• Enhanced autofocus performance, with improved speed and accuracy for a smoother experience.
• Optimized focus noise control helps to reduce the focus motor noise. This is especially important when recording.

Download the firmware here.

BLAZAR APEX 1.33X AF Anamorphic Lenses – features

Let’s take another look at the key features found in the APEX 1.33X AF Anamorphic Lenses:

• 1.33X squeeze.
• Fast, smooth, and quiet autofocus with real-time and accurate tracking, plus advanced eye tracking.
• 180-degree focus rotation and 73.5° aperture rotation.
• Close focus at 2.1 ft (0.65 m).
• 0.8 focus ring with 80mm front diameter and 77mm*0.75 filter thread.
• AF/MF focus switch.
• Covers S35 sensors while also supporting APS-C. Note: Open-gate isn’t supported.
• The first focal lengths are 35mm and 50mm, both at a fast T1.8.
• Classic natural and subtle silver flare and a vintage look with barrel distortion.
• Supported mounts include E, Z, RF, and L.

Using anamorphic lenses takes time, patience, and skill and is as much an art form as it is a science. This is one reason the APEX lenses with autofocus are attractive to filmmakers, cinematographers, and even photographers. There’s no need for additional hardware, such as a lens control system. The lenses do feature an AF/MF switch so that they can be controlled manually.

My colleague Johnnie reviewed the BLAZAR APEX 35mm and 50mm 1.33X T1.8 anamorphic lenses. Check out his review along with sample footage here.

Price and availability 

The BLAZAR APEX 50mm 1.33X T1.8 AF retails for $899 and can be preordered here. You can learn more about the APEX line of 1.33X anamorphic lenses on BLAZAR’s site.

Will you use the BLAZAR APEX Anamorphic Lenses featuring autofocus for your upcoming projects? Let us know in the comments below!

Over the years, DZOFILM’s cinema lens portfolio has grown considerably and now includes Super 35 (Pictor and Tango) and Vista Vision (Catta and Catta ACE) zooms, compact and vintage-inspired primes (Vespid/Vespid Retro/Arles), the S35 PAVO 2x anamorphic set, and even the Gnosis VV Macro series. You name it!

Now, the company is adding another piece to the puzzle by making their first attempt at producing a wide-angle probe lens. This makes sense as this type of lens is becoming increasingly popular across the filmmaking board to achieve wide-angle macro shots in very tight, inaccessible places. So, let’s take a closer look at the new DZOFILM X-Tract!

DZOFILM X-Tract probe zoom lens – overview

While other popular probe lenses, like the famous Laowa Pro2be, have a fixed focal length, the new DZOFILM X-Tract is a wide-angle parfocal zoom ranging from 18mm up to 28mm. Its constant T8 aperture has no ramping across the focal length range and features a 10-blade design. The lens is only available in PL mount and has a claimed image circle of 43.2mm, which makes it suitable for use with full-frame sensors.

Regarding the X-Tract zoom’s macro capabilities, DZOFILM claims that the lens has a maximum magnification ratio of 2.1:1 and can focus as close as 6mm from its front element. Given that the barrel is 41.5cm long, this means that the lens’s minimum focus distance is 0.47m from the sensor plane.

Optical and physical design

The optical design of DZOFILM’s probe zoom lens consists of 25 elements arranged in 18 groups. These include seven high-refractive index (HRI) and six extra-low dispersion (ED) elements that should help deliver sharp, clean images. According to DZOFILM, chromatic aberration and focus breathing are kept to a minimum, and the lens showcases near-zero distortion at 24mm.

The lens barrel is made of aluminum, features M0.8 pitch gears for focus, iris, and zoom, and has an IP57 rating that partially protects the lens against dust and water. The lens weighs 1.09kg/2.4 lbs, but most of the weight is distributed toward the rear side of the lens, so this should make it easier to balance the probe on camera supports and motion control systems.

Price and availability

The new DZOFILM X-Tract Probe Zoom Lens is available now for $3,499/€3.299. The lens comes with a carrying case, a support bracket, a UV filter, a screwdriver, and 3 O-shape clamps.

For more information, please visit DZOFILM’s website here.

Do you like shooting macro scenes with probe lenses? What do you think of this new offering from DZOFILM? Let us know your thoughts in the comment section below!

Canon has begun opening the RF lens mount to third-party manufacturers, allowing more options for content creators. Previously, only fully manual lenses without electronic contacts were available for the RF mount. Samyang and Viltrox had announced full-frame autofocus lenses for the RF mount, but those lenses have since been discontinued due to Canon’s enforcement of their intellectual property rights. Currently, third-party autofocus support is limited to APS-C cameras.

In November, we covered the announcement of these lenses, along with the 30mm f/1.4 DC DN and 56mm f/1.4 DC DN lenses. If you missed that coverage, you can catch up here.

SIGMA RF 16mm f/1.4 DC DN Contemporary – key features

Designed for APS-C-format Canon RF-mount mirrorless cameras, the SIGMA 16mm F1.4 DC DN Contemporary lens offers a 25.6mm equivalent focal length, making it suitable for wide-angle photography, including landscapes and architecture.

Key features include:

• APS-C | f/1.4 to f/16
• 25.6mm (Full-Frame Equivalent)
• Rounded 9-Blade Diaphragm
• Stepping Motor AF System
• Super Multi-Layer Coating
• Two Aspherical Elements
• Two SLD Elements, Three FLD Elements
• Weather-Sealed Construction

This lens weighs approximately 14.6 ounces (415 grams), making it a portable option for photographers on the go.

Sigma RF 23mm F1.4 DC DN Contemporary – key features

The SIGMA 23mm F1.4 DC DN Contemporary lens, also optimized for APS-C cameras, provides a standard field of view equivalent to roughly 35mm on full-frame. Its F1.4 aperture makes it a versatile choice for portraits, street photography, and video work.

Key features include:

• APS-C Format | f/1.4 to f/16
• 37mm (Full-Frame Equivalent)
• Excellent Low-Light Performance
• Fast Internal Focus System
• Rounded 9-Blade Diaphragm
• Dust & Splash-Resistant Design

This lens weighs approximately 12.0 ounces (340 grams), ensuring easy handling during extended shooting sessions.

Pricing and availability

By expanding into the RF mount, SIGMA continues to challenge native lens options with competitively priced alternatives without sacrificing quality.

SIGMA has officially opened preorders for both lenses, priced at $489/€384 for the 16mm and $599/€472.87 for the 23mm. With Canon RF APS-C support expanding, these lenses provide versatile prime options for the RF mount ecosystem.

If you’re looking to get your hands on some third-party, auto-focus RF glass now, these SIGMA lenses are available right now:

• SIGMA 18-50mm F2.8 DC DN Contemporary
• SIGMA 10-18mm F2.8 DC DN Contemporary
• SIGMA 30mm F1.4 DC DN Contemporary
• SIGMA 56mm F1.4 DC DN Contemporary

For more information about SIGMA’s RF lenses, head to SIGMA’s official blog.

What are your thoughts on these new SIGMA RF lenses? Do they fill a gap in your kit, or are you holding out for 3rd party full-frame RF lenses? Share your thoughts in the comments below!

Viltrox is a Chinese company that started in the photography and filmmaking industry by making lens mount adapters in 2009. After gaining some success, the company started releasing other products such as LED video lights and monitors, but more importantly, lenses for multiple camera mounts, including Sony E-Mount, FUJIFILM X-mount, Nikon Z-mount, and Canon RF-mount. The company recently started making cinema lenses, such as the EPIC T2.0 1.33x Full-Frame anamorphic cine lens series and the massive LUNA 42-420mm T5.6 Large-Format cine zoom.

The company is returning to their roots with a new lens mount adapter for Nikon Z-mount camera owners: the Viltrox E-Z AF lens mount adapter.

Viltrox E-Z AF lens mount adapter – features

The Viltrox E-Z AF lens mount adapter allows you to use Sony Sony E-Mount lenses on Nikon Z-mount cameras. It is entirely made of copper and quite slim, at only 4mm/0.15in. Proud of their manufacturing, the company claims a “zero-play design” between the lens and camera.

The lens mount adapter features electronic contacts on both sides, which means it communicates and transmits data from the lens to the camera and vice versa. Thanks to those contacts, the adapter supports EXIF data transmission to the camera. Furthermore, you can adjust the aperture directly on your camera body, as you would with a native Nikon Z-mount lens.

As its name suggests, the E-Z AF lens mount adapter supports autofocus. According to Viltrox, it is compatible with AF-S, AF-C, AF-A, AF-F autofocus modes, and also MF.

At the back of the lens mount adapter is a proprietary port for future firmware upgrades.

Price and availability

The Viltrox E-Z AF lens mount adapter is available now for $99/€98. This adapter isn’t revolutionary compared to other options, such as the Megadap ETZ21 Pro. However, with a price tag under $100, it is one of the most affordable options on the market.

For more information, please visit Viltrox’s website here.

What do you think about adapting Sony E-Mount lenses to Nikon Z-mount cameras? Would you prefer to stick with native Nikon Z-mount lenses? Don’t hesitate to let us know in the comments below!

XELMUS’s first 2x anamorphic lens series, called APOLLO, debuted back in 2019 and quickly gained recognition for its distinctive, cinematic look reminiscent of classic Panavision glass. Earlier this year, the APOLLO series was expanded to include a 24mm T2 and a 180mm T2.8 – for a total of 9 available focal lengths. Almost all of these cover full-frame or large-format sensors, except for the 24mm and 32mm, which are limited to Super 35mm coverage.

Now, XELMUS is setting out on a new quest with AURA, an upcoming series of 2x anamorphic lenses designed specifically for the Super 35 format. The lenses made their first public debut at EnergaCAMERIMAGE 2024 in November, but the company has only recently unveiled further details. Let’s take a quick look!

XELMUS AURA 2x anamorphic S35 series – overview

The upcoming XELMUS AURA anamorphic series will consist of 8 focal lengths divided into two sets:

• Set A: 30mm T2.2 / 50mm T2.2 / 75mm T2.2 / 135mm T2.5
• Set B: 20mm T2.2 / 40mm T2.2 / 60mm T2.2 Macro (Close focus: 9.8in/25cm) / 100mm T2.2

According to the manufacturer, the AURA lenses inherit the same anti-mump focusing system as the APOLLO lenses but take it one step further by implementing more precise mechanics.

While there isn’t any sample footage available for the AURA lenses yet, XELMUS describes their look as “modern and contrasty with beautiful waterfall bokeh, low barrel distortion, very muted white-blue flares, retro-inspired veiling glare, and controlled focus breathing.”

Price and availability

According to XELMUS, the AURA lenses will only be available to purchase as a set. Set A should start shipping on July 1st, 2025, while the company should begin taking pre-orders for Set B by the end of 2025.

There is currently no official pricing information. For reference, a set of 3 APOLLO lenses costs about $48,000.

For more information on XELMUS anamorphic lenses, please visit their website here.

Have you ever shot on XELMUS APOLLO anamorphic lenses? How do you like their look? What do you expect to be different for the upcoming AURA series? Let us know your thoughts in the comments below!

The BLAZAR REMUS 1.5x series of full-frame anamorphic lenses was first unveiled in December 2023. Throughout 2024, more focal lengths were added, making it a complete set of glass.

BLAZAR is a well-regarded lens manufacturer. This year, the company won two CineD Best in Show Awards: NAB for the CATO 2x Anamorphic series and IBC for the APEX 1.33x, the world’s first anamorphic lens to feature autofocus.

Why BLAZAR is discontinuing the REMUS Blue and Amber Flare single lenses

Let’s first recap the features since the BLAZAR REMUS 1.5x series of anamorphic full-frame lenses has been a popular hit. The lens construction has a vintage look and features a Canon EF or PL mount, which is user-swappable. They come in three flare options: Silver, Blue, and Amber.

They offer a complete line of focal lengths, which include 33mm (T1.8), 35mm (T1.6); 45mm, 50mm, and 65mm all at T2.0; 85mm and 100mm at T2.8; and 125mm at T4.

So why is BLAZAR discontinuing the Blue and Amber Flare single lens options at the end of 2024? Simple: They sell far more REMUS lenses with the Silver Flare. The company explained that the Blue and Amber tints are very subtle, and users were opting for the Silver Flare option more frequently.

Since each lens is made-to-order, meaning they carry no stock, it would take time away from manufacturing the popular Silver Flare option compared to the others. It should be noted that the 33mm will still be available for a few more weeks in January 2025.

Will you be able to buy all focal lengths before the deadline?

Because each lens is made to order, BLAZAR said that REMUS Blue or Amber Flare single lens orders made before December 31, 2024, at midnight, will be fulfilled. You’ll have a short period of a few weeks in January 2025 to order the 33mm.

By focusing only on the popular Silver Flare option, BLAZAR will be able to manufacture and deliver the REMUS 1.5x Anamorphic Full-Frame lenses much faster. 

 Price and availability 

The BLAZAR REMUS 1.5x series of lenses are priced based on the focal length. However, many cost $999, with the exception of the 35mm T1.6 at $899 and the 33mm T1.8 at $1,199. There are also sets that can be purchased, including the A and B sets. Order a Blue or Amber Flare single lens before December 31, 2024, at midnight (33mm will sell into January 2025). The Silver Flare options will continue to be available. Click here to learn more and purchase.

Will you be purchasing the BLAZAR REMUS 1.5x in Blue or Amber Flare before the end of 2024? Or do you prefer the Silver Flare option? Let us know in the comments below!

Thypoch released an initial set of four lenses in October and, with the release of the 21mm earlier this month, completed the 5-lens set of Simera-C T1.5 cine lenses. With the addition of an M-mount option alongside their E-mount version, users can now adapt these lenses to nearly all mirrorless cameras via adapters, including those with E, RF, Z, L, and X mounts. These lenses are designed to work with a wide range of cameras, from mirrorless video cameras to professional cinema cameras like the DJI Ronin 4D, Sony Venice, Alexa 35, Alexa Mini LF, Alexa Mini, and Amira.

With third-party mount-kit solutions like XPIMAGE’s ARRI M-mount kit, these lenses can also be securely mounted (positive lock) on high-end cinema cameras such as the ARRI Alexa and Sony Venice systems (Thypoch recommends XPIMAGE for optimal performance).

Key features of Simera-C lenses – M-mount / E-mount

There is a slight difference in size and weight between the mounts. M-mount lenses are 20–30 grams lighter and slightly shorter compared to their E-mount counterparts. As a reminder, the Simera-C series of 5 lenses (21mm, 28mm, 35mm, 50mm, and 75mm focal lengths) have a consistent T1.5 aperture with 16 iris blades, both metric and imperial (dual focus) scales, and weigh between 353-491g depending on lens and mount.

Price and availability

Thypoch Simera-C lenses are available now. The M-mount single lens is priced at $959/€869, with the full 5-lens set at $4,319/€3,919. An E-mount single lens is priced at $879 /€799, with the full 5-lens set priced at $4,048/€3,679. For more information, please see the Thypoch website.

Are you currently using M-mount or E-mount lenses? Does the addition of an M-mount make these lenses appealing to you? Let us know in the comments!

Cooke’s history began in the late 1800s as T. Cooke & Sons of York as they worked on a solution to outer edge ridge distortion in telescope lenses. Soon after, Cooke photographic lenses were born. The Wizard of Oz utilized Cooke lenses and became the first movie to film in Technicolor. 

The Cooke Speed Panchro f/2 cinema prime lens was invented by Horace Lee and became the defacto lens of choice in Hollywood for over 40 years until the 1960s. The Panchro is still being developed today. Cooke also developed the world’s first Cine Zoom, released in 1971. 1998 was the start of Cooke Optics and the debut of the now legendary Cooke S4 lenses.

The Cooke S4 first came out in 1998 as Chairman and Owner Les Zellan and Cooke opened a new facility in Leicester, England to bring some shine back to the brand. The design and manufacturing of the lens really set a gold standard for cinematic optics, and this contributed to the “Cooke look.” 

Why Cooke S4/i lenses were so popular

What made the Cooke S4 lenses so famous was the warm look and artistic character. The engineering behind the lenses earned the company a special Academy Award in 2013. Cooke also focused on not just film but also digital as the format was starting to take over Hollywood. 

In 2005, the Cooke S4/i Technology was introduced and heralded the digital age of camera lenses. Lens metadata capture is embedded in the glass itself, helping with visual effects. This was also a major game changer.

Cooke S4/i prime lenses – features

In their tribute, Cooke goes into detail about the features and how they contributed to the “Cooke Look.” It’s no wonder so many modern lenses feature similar lens design and construction.

• 18 total focal lengths, from 12mm ultra-wide to 300mm telephoto.
• Fast T2 aperture.
• Four-point bearing system results in precise and smooth adjustments.
• 270–340° focus rotation for intricate focusing.
• Built for Super35, making the lenses compatible with both digital and film.
• 8-bladed irises result in soft and smooth bokeh.
• Minimal flare and aberration.
• /i Technology embeds metadata capture directly in their lenses.

What’s next for Cooke?

Cooke Optics is still designing and manufacturing some of the best cinematic prime and zoom lenses on the market. The S8/i carries on the legacy of the S4/i line. It features 16 focal lengths from 18mm to 350mm. The lenses are used in a wide variety of film and television productions. The Cooke S4/i mini lens set is also available.

The Cooke S4 and S4/i lenses will cease production on January 1, 2025. The company will continue supporting the lenses for up to 7 years, subject to material availability. Learn more about The Cooke Look and also their history.

Have you used the Cooke S4 and S4/i lenses on your productions? Let us know in the comments below!