{"id":134,"date":"2014-02-16T21:04:57","date_gmt":"2014-02-16T21:04:57","guid":{"rendered":"http:\/\/magnanimous.biz\/news\/?p=134"},"modified":"2020-04-12T01:47:32","modified_gmt":"2020-04-12T01:47:32","slug":"compact-cinema-lens-comparison","status":"publish","type":"post","link":"https:\/\/magnanimousrentals.com\/blogs\/compact-cinema-lens-comparison\/","title":{"rendered":"Compact Cinema Lens Comparison"},"content":{"rendered":"
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By<\/span> Jonah Rubash<\/a><\/span><\/p>\n

I first checked out the Schneider<\/span> Xenon FF prime lenses<\/a>\u00a0at NAB in 2013.\u00a0 I was impressed by the barrel design, unnoticeable breathing, and their approach of building a cinema lens derived competitor to<\/span> Zeiss\u00a0CP2 lenses<\/a> and<\/span> Canon CN-E prime lenses<\/a>, which are both adapted from still lenses.\u00a0 However, I didn\u2019t have much of a sense of how they would perform otherwise, so it was difficult to get excited about them.\u00a0 After working with the Schneider<\/span> Cine-Xenar III\u2019s with the Epic<\/a>, I couldn\u2019t wait to get my hands on their siblings, the<\/span> Xenon FF<\/a>.<\/span><\/p>\n

I hesitate to call the Cine-Xenar IIIs\u00a0\u201ccreamy\u201d only because they somehow manage to smooth out the harshness of 4K & 5K sensors, especially in the skin tones, without losing resolution or clarity. The focus fall-off, low diffraction, consistency, skin tones and contrast were far more appealing then the CP-2s and CN-E lenses, but Cine-Xenar IIIs are far more expensive. I was hoping that the Xenar\u2019s siblings would bring a similar level of performance and when Magnanimous acquired the<\/span> Xenon FF<\/a> primes I found that DNA in a smaller package.<\/span><\/span><\/p>\n

Corey Lillard made some observations after a comparison of the Xenon FFs with their main rivals:<\/span><\/p>\n