The evolution of camera technology has blurred the lines between photo and video gear, leaving you to navigate a mix of options. One key area where this confusion is most apparent is in the choice between photo lenses and cine lenses.
Coming to you from David Manning, this insightful video dives into the distinctions between photo lenses and cine lenses. Manning explains that cine lenses, unlike photo lenses, are designed specifically for video production. One major difference is in how they handle manual focusing. Cine lenses offer hard stops on their focus rings, allowing for precise, repeatable focus pulls. Photo lenses, in contrast, typically use a focus-by-wire system, which can be less reliable for video work. Manning emphasizes the importance of manual focus in video production, pointing out that while modern autofocus systems are impressive, they can still lead to missed shots. This is why he advocates for using manual settings across the board, giving you full control over your shot.
Another critical point Manning discusses is the construction of cine lenses. Cine lenses often come with built-in gears for focus and aperture control, making them more adaptable to professional video setups. These gears allow for the use of wireless follow-focus systems, which can be essential when the camera is mounted on a gimbal or controlled remotely. Photo lenses, on the other hand, typically lack these built-in gears, requiring cumbersome and less reliable external attachments. Manning’s comparison drives home the fact that cine lenses are built for precision and durability, often being more robust and heavier than their photo counterparts.
Manning also touches on the topic of zoom versus prime lenses. While photo lenses often feature zoom capabilities, cine lenses are usually prime, meaning they have a fixed focal length. This might seem limiting, but prime lenses offer superior optical quality and consistency across shots, which is vital in professional video work. He also notes that the construction of zoom lenses, with their multiple elements, can introduce issues like distortion, especially at wider focal lengths. This is less of a concern with prime lenses, which are optimized for a specific focal length, ensuring cleaner and more accurate images.
The video also explores the difference between T-stops and f-stops, a crucial concept for video shooters. While f-stops are commonly used in photo lenses to measure the aperture, T-stops are used in cine lenses to measure the actual amount of light transmitted through the lens. This ensures consistent exposure across different lenses, a critical factor in maintaining visual continuity in video production. Check out the video above for the full rundown from Manning.
The article compares photo zoom lenses to cine primes, but doesn’t mention photo primes. Not really comparing apples with apples. It also doesn’t mention the most important optical difference between photo and cine lenses, the fact that cine lenses are specifically designed to minimise focus breathing, so the field of view remains unchanged as the focus is moved from one point in the scene to another. This is not often a concern for photo lenses.