Angenieux has created three zoom lenses in their Optimo Anamorphic lineup: the 30-72, 56-152, and the 44-440. In this video, I take a closer look at the 44-440mm.

The Canon Compact-Servo 18-80mm T4.4 lens is the newest release in Canon’s extensive lens lineup. The lens was designed to bridge the gap between their EF still zooms and their cinema zooms, blending features from both form factors. This lens fills an important space for documentary cinematographers looking for a small, inexpensive lens with high functionality on a wide range of shoots. The zoom range of the lens is great for all-around verite shooting, covering the most-used standard focal lengths.

I had a chance to look over the new Angenieux Optimo Style 48-130mm lens, a hotly anticipated addition to the Optimo Style series. As a lens in the Style series, it is designed to complement the 16-40mm and 30-76mm zooms.

Fujinon recently released the Cabrio 20-120, an economical version of their popular Cabrio Compact Lenses. Despite being smaller and lighter, the 20-120 is still a member of the elite “Premier” series of Fujinon lenses, offering exceptional optical performance across the board.

The Canon Cine-Servo 17-120mm made some waves when it was released in 2014. Finally, we had an ENG-style servo lens with a long zoom range for Super 35 sensors shooting in high resolutions. This made a lot of people happy in the documentary and TV world, eliminating the need to carry multiple lenses and bringing us back to broadcast camera / lens design. Let’s take a deeper look at this lens.

ZEISS has rolled out a new line of high quality lenses: the Compact Prime CP.3 and CP.3 XD. With a compact new design, these lightweight lenses are perfect for any type of shooting, from handheld to drone. They also boast full frame coverage across the entire range, and the esteemed ZEISS look that matches with every other ZEISS cinema lens.

The Sony E PZ 18-110 is a native Sony-E mount lens for Super35 / APS-C sensors designed for cinematographers needing the sharpness and color of a professional 4K lens, while still retaining the electronic characteristics familiar with traditional fixed lens video cameras.

This year’s Cine Gear Expo was definitely one of the most eventful ones. From new camera announcements to the latest in lighting technology and more, there was a little something for everyone to get excited about. In that vein, we’ve rounded up some of the most relevant coverage — both from our own specialists as well as our friends over at Newsshooter.

The Canon EF-S 17-55mm and Canon EF-L 24-105mm lenses have been a staple in documentary film productions since the advent of DSLR cameras for video. They are compact and light lenses that cover a great range and pack easily into small configurations.