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Now reading: Sigma's new Classic Art Prime Cine and /i Technology PL lens kits to sell for $44K 44 comments

Sigma's new Classic Art Prime Cine and /i Technology PL lens kits to sell for $44K

Published Dec 6, 2019 | Brittany Hillen

Sigma has announced the pricing and availability for its upcoming Classic Art Prime Cine and /i Technology-compatible Cine Art Prime PL-mount lenses. These are variants of its Art Cine Prime with simpler coatings for a classic cinema aesthetic. The company plans to release the Classic Art Prime Cine line as a set of 10 lenses in January 2020 for $43,999; these lenses will only be available as part of the full set.

Unlike the Classic Art Prime Cine lenses, the /i Technology-compatible versions will be released for individual purchase in two different batches, the first going up for sale later this month and the second going up for sale in late January 2020. The lenses will be available from authorized dealers.

The /i Technology versions communicate shooting metadata to camera bodies that are compatible with Cooke's communication protocol.

The following /i Technology-compatible lenses will be priced at $3,899 each with availability listed below:

20mm T1.5 (late December 2019)
24mm T1.5 (late December 2019)
28mm T1.5 (late January 2020)
35mm T1.5 (late December 2019)
40mm T1.5 (late January 2020)
50mm T1.5 (late December 2019)
85mm T1.5 (late December 2019)

The remaining three new /i Technology-compatible lenses will be priced at $5,499 each:

14mm T2 (late January 2020)
105mm T1.5 (late January 2020)
135mm T2 (late January 2020)

The movie Top Gun: Maverick scheduled to hit theaters early next year was shot using early versions of Sigma's new FF High Speed Prime /i Technology-compatible lens, according to the company. As the name indicates, these lenses are compatible with the /i Technology communication protocol from Cooke Optics.

Tags: cine, cinema, lenses, sigma

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cyberstudio

Every cinema gear announcement comes with mandatory comments with regard to its price. It is hard to phantom why what is apparently the same optical formula now suddenly costs 5x.

Even if the optics and the glass are identical cinema lenses are built to a different level of mechanical precision. Both a still photo lens at 1/5 the cost and a cinema lens at 5x the cost report distance information to the camera. The still photo lens would struggle to tell 10m and 15m apart, but the cinema lens would be accurate to the centimeter or even the millimeter. This whole new level of precision is pointless for the photographer but for filmmaking it is essential. Focus pulling is not done with some viewfinder or some rangefinder but with a ruler(!) You can run and gun or be a photojournalist or be a vlogger with your consumer camera but those are not filmmaking.

For a specialized tool that used to be well into the 5-digit range, now a cost of $5,499 each is more affordable than ever.

Dec 8, 2019*permalink

XeroJay

Exactly. There's also other differences, sometimes even in the optical designs. Certain levels of focus breathing for example that exist in the consumer versions won't ever in the cinema lens. There's so much more, but here's a good one to start: https://www.adorama.com/alc/what-is-a-cine-lens-and-how-is-it-different-from-a-photo-lens

Dec 8, 2019permalink

entoman

XeroJay - Thanks for a most interesting link that explains a lot about these lenses that I didn't know.

Dec 8, 2019permalink

GlobalGuyUSA

Is my math wrong -- or shouldn't these 10 x $1,000 SIGMA lenses cost only = $10,000 ~ $15,000 MAX? Cheaper yet, because of using simpler coatings?

Whats with the other $15,000 markup?

The 0.99 cents of extra plastic on the barrel?

Dec 8, 2019permalink

JakeJY

Says right in the article that 7 of the lenses are $3,899 each and 3 are $5,499 each. Not sure where you are getting $1000 each?

And these types of prices are reasonable in the cine lens space. Cine lenses are rated on light transmission (T-stops), designed for minimal focus breathing, all lenses in a set must be color matched, focus marks must be accurate/linear/matched, usually all metal. They are also made in lower volume. All this adds to the price tag.

Dec 8, 2019permalink

GlobalGuyUSA

Uh -- no. All of the lenses are $800 to $1500 lenses with extra bits of plastic around them, which they are calling $4,000. The actual lenses are sold right now non-plastic banded for $800 to $1500 each. So no.

And doubly no, because just because cinematographers are idiots and don't know the difference between an $800 lens and a $4000 lens doesn't mean its a good deal. Its still a really bad deal.

Dec 8, 2019permalink

GlobalGuyUSA

I mean, I get it. But they are the same f/1.4 lenses. Just using the same batch of glass & using simplified coatings, which slightly alter/lower the light so they all have the same transmission, plus made a bit more mechanically smooth. I get it, I really do. But its still the same lenses they already have with minor adjustments, which doesn't quadruple the price. Think about it, doubling the price would be as if they had to start from scratch. They dont. At all.

Dec 8, 2019permalink

XeroJay

First, yes your math is wrong. Second, you really need to do some research into cinema lenses and how much they cost as well as why they cost more. These lenses are absurdly well priced for what they are.

Dec 8, 2019permalink

Prolenscamera

@GlobalGuyUSA
As opposed to photographic lenses, for cinema lenses, it is not the material that costs the most. It is the engineering techniques and equipment (due to high-precision requirements and the fact that the consequent development costs cannot be paid across many customers thus the high-price strategy to make sure these costs are reimbursed as early as possible in the sales process).

Dec 8, 2019permalink

XeroJay

I'm surprised how many commenters here believe this is overpriced... The reality is that this is an absolute steal for a complete set of cinema lenses of this caliber. Also, understand that people using cinema lenses do use them in kits.

Dec 7, 2019permalink

Weia

How do these lenses really have the special cine properties? I saw a movie I made 30 years ago which did not have them at all!

Dec 7, 2019permalink

Michael B 66

44000 bucks? Wow!
I will try my old FD lenses with "simpler coatings" on an EOS RP to have the cinematographic look :)

Dec 7, 2019permalink

RPJG

As a non-videographer...do you really make constant use of (say) 35mm vs 40mm or 40mm vs 50mm, as opposed to adjusting your position and/or cropping? It is because the time taken to change lenses pale into insignificance compared to all the other work that foes into setting up a shot, so you might as well put on the closest lens for the shot you want?

Dec 7, 2019permalink

Conrad567

That does seem a little redundant. At least the 40 and 50.

Dec 7, 2019permalink

Weia

Maybe redundant, on the other hand shooting wide screen is more critical, I think.

Dec 7, 2019permalink

ales82

I think it really depends on the situation and the budget. Sometimes a shot cannot be reproduced in another location, some other times there could be an extremely expensive actor cast and changing lens would cost a fraction of employing the same cast in a different location, etc

Dec 7, 2019permalink

Steven Lungley

Shooting on location puts the crew in many situations where there are obstacles to over come, and many lens choices helps to solve the problems.

Consider a walk and talk in a tight corridor or room of restricted size. The camera is on a dolly, on track, moving with the actors. The 50 might be the preferred lens, but there is a wall in the way that cannot be moved back. The 35mm reveals the lighting tired to the ceiling. Moving the track/camera closer to the actors leads the camera into a partial wall. The best choice is the 40mm.

You could switch to the zoom, but it is 2 stops slower.

To any director of photography, waiting to "crop it in post" means allowing the director and editor to fall in love with the wrong version of the shot and deciding not to crop, and to blame it on the DP later on.

Get it right in camera, on set, on the day is the best way to go.

Dec 7, 2019*permalink

Conrad567

I am guessing that when filming a movie, there are a lot of shots, probably a plurality that are shot between 35-50mm, hence the options.

Dec 7, 2019permalink

GlobalGuyUSA

I would say that BUSINESS LOVES REDUNDANCY.

Break your lens, and you lose $10,000 that day, dep. on the situation.

Have a spare at a near focal length & you're good to go.

Dec 8, 2019*permalink

Kevin DiOssi

These are coming in at a really good price point in the cinema market. A single Arri prime costs just a little less than this.

Dec 7, 2019permalink

tangbunna

Sigma will announce Autonated Revolver Cannon Rig for its cine lens to use in one camera body without manual changing lens in Early April 2020

Dec 7, 2019permalink

SmilerGrogan

In the united states it's called a “lens turret.” In the days before decent zooms, studio television cameras and a fair number of movie cameras had them.

Dec 7, 2019permalink

Tonio Loewald

Very common on microscopes too

Dec 7, 2019permalink

LJ - Eljot

First of April?

Dec 7, 2019permalink

SmilerGrogan

No. Everything old is new again.

Dec 7, 2019permalink

SmilerGrogan

No. Everything old is new again.

Dec 7, 2019permalink

kobakokh

SO nice, and just for 44000 USD!!! Absolutely great! Cooke cost 2-3 times more expensive...

Dec 6, 2019*permalink

3pgrey

Wait what???? There's a new top gun? When you realise you're not fashionably late to a party, just late

Dec 6, 2019permalink

fastnsharp

I'm waiting for the AF cinema primes. The latest AF lenses do smooth and quiet focus pulls. For 90% of the world out there you'll never notice the difference in the final product. The bigger difference probably comes in saving money and having more creative freedom thanks to AF.

Heck, with some kind of touch screen the director or cinematographer could control focus themselves.

I guess someday it will happen. Not today!

Dec 6, 2019permalink

3pgrey

Its a hard ask when pulling is part of the creative process in cinema

Dec 7, 2019permalink

Steven Lungley

Auto focus lenses can't do focus splits.

Imagine you shooting a oner, four minutes long as the camera snakes though a hotel with people coming and going into the shot and talking here and there. The DP sets the T-stop at T2.2. There is enough depth of field if the focus is set between the two leads. Not the front one and not the back one, but at some point in the middle. How is AF going to manage that?

Further, the director wants to use selective focus to focus on different actors and details along the way as an artistic choice. Sometime on the lead actor, maybe on the fifth one back as they hold up a piece of evidence.

I worked on one shoot set in a dance club. The actor is approaching the bar - which had mirrors behind - on an angle. The camera was on a track on the opposite angle. The director wanted focus to move between the bartender, and the reflection of the walking actor. Started wide and moved to a tight 2-shot and then the drinks, all at T1.4.

No AF would get it.

Dec 7, 2019permalink

fastnsharp

@ Steven Lungley, in the old days, heck, even 2-3 years ago you would have been right. But with the latest optics and cameras its possible. You can touch on the screen wherever you want to focus and it never misses. Just give it a couple years and directors will be demanding AF focus lenses.

Dec 7, 2019permalink

3pgrey

@fastandsharp
It's more complex than that. What if what you want to focus on isn't on screen yet? What about changing pull speed? What if you don't want to track something and just have it move through a focus and there's nothing to focus on at that point?

Dec 7, 2019permalink

fastnsharp

The latest mirrorless cameras are focus by wire and can seamlessly switch between manual control and automatic.

Dec 8, 2019permalink

entoman

fastnsharp - How is your AF lens and touchscreen going to enable focus to be set *between* two objects/actors, so that depth of field is deep enough to cover both, but shallow enough to throw the background out of focus?

How is your AF going to control the speed at which the focus transition is made betwen two actors?

Focus by wire just isn't accurate enough or precise enough for cine. Manual lenses and focus-pullers exist for a reason.

Dec 8, 2019*permalink

Steven Lungley

fastnsharp - Two of the major providers of cinema lenses over the past 50 years are Zeiss, working for Arri and Panavision, which creates their own lenses. Most big budget films rent their equipment, so in order to develop lenses, the big suppliers in cinema work endlessly with their clients: Directors of Photography and rental houses.

Because, if they create lenses without asking for feedback, the rental houses won't buy them and if they do, the camera crews won't rent them. If the end users were asking for AF lenses, they would exist. The reason the motion picture business gets manual focus lenses made, is because that is what they ask for.

Dec 10, 2019permalink

nerd2

It isnt hard, there are tons of depth sensors out there. Make a 3d map of the environment and let the director program the focus plane. There are robotic arms handling camera movements the same way. And they are fairly cheap now, especially compared to how much actors take.

Dec 11, 2019permalink

entoman

nerd2 - I could be wrong, but surely depth sensors need something solid to "focus" on?

In which case, how would the director be able to make the camera focus on a point in mid-air, such as I mentioned (3 posts above this one)?

Also, I think you are expecting one hell of a lot from a director, if in addition to his/her normal roles, and this new focus role you've given him, he has to control the angle of the camera, in 3 dimensions?

Robotic arms aren't much use if the director can't provide the right input, and do it at the speed that events unfold.

Dec 11, 2019*permalink

cyberstudio

Canon does make autofocus cinema lenses: CN-E 18-80 T4.4 and CN-E 70-200 T4.4. In EF mount, of course.

Dec 11, 2019permalink

fotogrofur

I'll take two!

Dec 6, 2019permalink

Tungsten Nordstein

'I'll take two!'

You beat me to it! :)

Dec 6, 2019permalink

Discombobulated

for the price of one

Dec 6, 2019permalink

robertfel

Well, you do need backups.

Dec 6, 2019permalink

medon78

ç'est un occasion! :-)

Dec 6, 2019permalink

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Sigma's new Classic Art Prime Cine and /i Technology PL lens kits to sell for $44K

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