TEANECK, N.J.—Leica Camera AG has announced that the Leica Cine 1, the company’s first-ever cinema TV and its first entrant into the home cinema market, will be available for sale starting September 6 at Leica Stores and select retailers across the United States.

The Leica Cine 1, which was shown at CES in January, combines state-of-the-art laser technology with Leica's industry-leading image quality and is the first time that the unmistakable quality of Leica imagery can be experienced on 100- or 120-inch displays in 4K quality, the company said. 

"Cinematic experiences have always been about the perfect blend of artistry and technology, and at Leica, we are proud to embrace that timeless tradition with our first Cinema TV," says Matthias Harsch, CEO of Leica Camera. "With the introduction of the Leica Cine 1, we continue to push the boundaries of optical excellence and innovation, inviting enthusiasts and professionals alike to embark on a visual journey like no other. Our commitment to precision engineering and uncompromising quality ensures that every frame on the Leica Cine 1 is a testament to our rich heritage, blending cutting-edge technology with the unparalleled artistry of Leica lenses. As the world enters a new era of immersive entertainment, we invite you to witness our convergence of cinema and technology, where Leica's legacy of optical brilliance truly comes to life."

Leica Cine 1 features innovative triple-RGB laser technology that delivers particularly bright images and ensures breathtaking color rendition with a service life of over 25,000 hours, Leica reported. 

Its Leica-engineered Summicron lens is precisely matched to image size to ensure consistently high imaging performance, the company reported. 

In addition, the Cine 1 uses the brand's own image processing (Leica Image Optimization - LIO) to optimize picture quality with special algorithms, thus achieving particularly natural color reproduction, detailed color gradations, and excellent contrast transfer. 

The Cine 1 also has an integrated, high-performance Dolby Atmos audio system for the perfect home cinema experience, the company said. 

The Leica Cine 1 uses the Google's smart TV platform. Hard drives or additional tech such as Blu-ray players or game consoles can be connected via the built-in HDMI and USB inputs, while the screen mirroring function makes it easier than ever to cast entertainment from any personal device. 

In addition to its technical specifications, the Leica Cine 1 features short-range laser technology that consumes significantly less energy than an OLED TV of a comparable size. The approx. 24x16x6 inch projector can easily be integrated into the design of any room and offers an interesting alternative to more heavy and dominant LED displays.

Sales for the Leica Cine 1 in the U.S. (at a price of $8,995 for the 100-inch model, and $9,495 for the 120-inch model) will begin on September 6, 2023. Detailed information on the availability of the cinema TV in selected Leica Stores, the Leica Online Store and TV/Hifi and home cinema retailers, as well as accessories and installation service, will also be available at www.leica-cinematv.com. 

Ronkonkoma, NY – February 26, 2019 –Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, today announced 11 of its Art prime lenses will soon be available in L-Mount. Sigma also announced the launch of the Sigma Mount Converter MC-21, which will allow Sigma’s SA mount and Canon EF mount lenses to be used on the L-Mount camera bodies. The expansion of the beloved Sigma prime lens line along with the MC-21 converter will increase the extensibility of the L-Mount system and further Sigma’s role in the strategic L-Mount Alliance alongside Leica and Panasonic.

Sigma Art Prime Lenses in L-Mount:

Features

The L-Mount lineup consists of 11 Art prime lenses for full-frame cameras ranging from 14mm to 135mm, allowing Sigma’s award-winning high-performance lenses to be enjoyed by even more shooters on L-Mount cameras. The lineup features high-speed AF and is fully compatible with AF-C mode, in-camera stabilization and in-camera aberration correction. The native L-mount allows for a much more stable feel than using an adaptor. Additionally, the lenses are equipped with a surface treatment to enhance strength, a brass bayonet mount offering exceptional durability, and rubber sealing at the mount connection for dust- and splash-proof construction.

Product Lineup

· Sigma 14mm F1.8 DG HSM Art ($1,599.00) – World’s First and Only Full-Frame F1.8 Ultra-Wide-Angle

· Sigma 20mm F1.4 DG HSM Art ($899.00) – Bright & Sharp Wide-Angle

· Sigma 24mm F1.4 DG HSM Art ($849.00) – Front Filter Compatible, Fast-Aperture Wide-Angle

· Sigma 28mm F1.4 DG HSM Art ($1,399.00) – Best in Class Performance

· Sigma 35mm F1.4 DG HSM Art ($899.00) – Groundbreaking Flagship Wide-Angle

· Sigma 40mm F1.4 DG HSM Art ($1,399.00) – Beyond Art Series Performance

· Sigma 50mm F1.4 DG HSM Art ($949.00) – Redesigned for High Megapixel DSLRs

· Sigma 70mm F2.8 DG Macro Art ($569.00) – First Macro to Join the Art Line

· Sigma 85mm F1.4 DG HSM Art ($1,199.00) – Award-Winning Ultimate Portrait Lens

· Sigma 105mm F1.4 DG HSM Art ($1,599.00) – The “Bokeh Master”

· Sigma 135mm F1.5 DG HSM Art ($1,399.00) – Award-Winning Prime with Reach

Full technical specifications are available here and images here. Pricing and availability will be announced later.

Sigma Mount Converter MC-21:

Features

The Sigma Mount Converter MC-21 allows Sigma’s SA mount and Canon EF mount lenses to be used on L-Mount camera bodies, allowing more freedom of choice for L-Mount cameras from Sigma, Leica and Panasonic. The MC-21 increases the number of interchangeable lenses manufactured by Sigma to be used with the L-Mount system by 29 lenses.

Find the full list of compatible lenses and technical specifications here and images here. Pricing and availability will be announced later.

About L-Mount

The L-Mount was developed by Leica Camera under the proviso of providing customers with a future-proof, flexible, robust and precise bayonet mount that would fulfill even the most demanding photographic needs. Since its initial appearance in 2014 within the Leica T, development of the L-Mount was continued by Leica as well as by its strategic partners, which led to significant improvements and therefore an effectively new and more polished L- Mount technology.

To ensure maximum product diversity, the diameter of 51.6 millimeters was chosen to make the L-Mount suitable for use not only with full-frame cameras, but also on cameras with APS- C sensors. The short register of only 20 millimeters enables a short distance between the lens and the sensor, which in turn enables considerably more compact construction – which is particularly helpful for developments in the wide-angle lens segment. To ensure resistance to even the most extreme stresses, and to guarantee customers maximum reliability in many years in intensive use, the camera bayonets are manufactured from wear-resistant stainless steel and with four flange segments that prevent canting and ensure particularly secure and precisely positioned lens attachment. The standardized L-Mount contact strip ensures trouble- free communication between the electronic components of the lens and the camera – including the possibility of installing future firmware updates for lenses to react to technological advances and exploit the full performance potentials of the lens.

The lens mount is currently used in the Leica SL full-frame camera system and the Leica CL, TL2 and TL APS-C camera models. All lenses made for the various different systems can be used on all cameras without adapters and without any functional limitations – this illustrates only one of the numerous benefits the common bayonet brings for customers.

About Sigma Corporation

Craftsmanship. Precision. Dedication. Since 1961, Sigma has been devoted to the pursuit of advancing photographic technology. Unique to the industry, the family-owned business produces its high-quality, award-winning cine and camera lenses, DSLR and mirrorless cameras, flashes, filters and accessories from its state-of-the-art manufacturing facility located in Aizu, Japan.

In 2012, the company introduced the Sigma Global Vision with three distinct lens lines: Art, Contemporary and Sport. Designed for industry camera mount systems including Canon, Nikon, Olympus, Pentax, Sony and Sigma, each lens is handcrafted and tested in Japan to ensure a high-performance, premium product that is purpose-built to last. In 2016, Sigma entered into the world of cinematography lens production. Embodying the core optical DNA that has defined the Sigma benchmark of excellence, the cine lenses meet the needs of advanced 6k and 8k cinema production.

Sigma continues its tradition of imaging excellence with the mirrorless sd Quattro, sd Quattro H and the compact dp Quattro camera line. Leveraging the ultra-high resolution Foveon sensor, the Sigma Quattro cameras are designed to produce the highest quality image with every shot.

For information about Sigma, please visit www.sigmaphoto.com or follow the company on Sigma Blog, Twitter, Instagram, and Facebook.

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NEW YORK—In my opinion, the two most important elements in the capturing of a digital image are the sensor and the lens. The glass out in front allows the light rays to fall on the sensor. It seems so logical— the better your lens, the higher quality your image.

Having shot images for 35 years, I have always tried to use the best lenses available. This has been even more critical now that we are shooting in higher resolutions, 4K and beyond. When the industry moved from standard definition to HD, the most important aspect seemed to be “check your focus.” As resolutions increase, so does the need to keep things in crystal clarity. With 4K being approximately twice as sharp as HD, that need becomes even more evident.

As our industry moves into 4K technology with gear from the likes of Blackmagic Design, Canon, and RED, do our lenses need to move beyond what we have been using with HD? Our Canon, Zeiss, and Fujinon lens are fast, versatile, and sharp, but can these same lenses truly bring out all of the detail in the 4K–6K image?

Bulgarian actress Gabriela Kostadinova works against a green screen in the DeSales University TV studio. The background will be a dusty attic, added in post.ARE THEY WORTH THE EXPENSE?
To test this theory, I recently tried four Cinema Series lenses using three 4K cameras (Canon EOS C500, Blackmagic Cinema, and AJA CION). There are several manufacturers (Canon, Zeiss, Schneider, Leica, etc.) available and our cameras came with two choices of lens mounts: EF or PL. The AJA CION has a PL mount and our other cameras were all EF.

The first three Cinema Series lens were all Canon Primes: CN-E 24mm, 50mm, and 85mm T1.5 EF mount lenses. These were just the lenses I used and are indicative of what other manufacturers offer. Some of the selling points for me were that all three lenses were the same front diameter, lens cap size, optical design, and filter size. The second element was the “T” stop, which was very fast. A T-stop measures the true amount of illumination falling on the sensor. These lenses had a 1.5 T-stop that needed to be adjusted manually, giving the shooter more control over the aperture. Most lenses do not allow you to manually adjust the aperture and with cameras like the CION, manual lenses must be used unless you purchase an optional device. The 11-blade diaphragm is stepless and allows greater control of precise settings.

One of the features I truly appreciate is the 300-degree rotation of the focus. Lenses usually allow you to make adjustments on the focus ring but even when infinity is reached, the barrel keeps turning. Cinema lenses stop at infinity and focus as close as one foot (with the 24mm, the other lenses need to be slightly farther away). The distance markings on the lens also allow a focus puller the option of seeing the distance measurement for more accurate focus points.

Lastly, the old adage that prime lenses are sharper because of fewer elements is still true, but I doubt the human eye could see those nuances. Cinema lenses are not cheap, usually costing in the five thousand dollar range or above. But does it make the image any better?

BEYOND SENSOR CAPABILITIES
Shooting consistently with the three primes in 4K, I believe the image looked incredible; it seemed as if I got a slightly sharper image because of the lens. The habit of magnifying the image, opening the T-stop, focusing on the talent’s eyes, measuring the distance to ensure the lens’s accuracy, and being able to follow focus more precisely were all positive factors for the lens. With each of the three primes, the follow focus attachment did not have to be adjusted for each lens (one setting works for all three), saving time in the process.

Dianna’s Cortorreal, a freshman enrolled in TV/Film studies at DeSales University, uses the Canon EOS 300 with a Canon Cinema Series 85mm Prime T1.5 lens to shoot a 1963 Studebaker Avanti. Switching to a PL mount, I mounted the Canon CN-E 14.5mm–60mm T2.6 zoom to my camera. The zoom obviously offers greater control without changing lenses, but it comes at a price—more than $40,000. The images still looked stellar, but I had a much heavier, wider and not as telephoto lens.

So the question still stands: are Cinema Series lens better and worth the investment? From a shooter’s point of view, I would say the answer is yes. You will not notice a night and day difference in the image quality, but my middle-aged eyes do see a slight difference.

The more important factor to me is how we get that image. The user has more control of the aperture allowing him or her to open the lens to permit more light onto the sensor. Having footage markings on the lens barrel and a precise start and stop makes focusing easier for the operator and focus puller. Probably the most critical feature of a Cinema Series lens is that you want the crisp, sharp focus at all times when rolling the focus. With professionals working on the camera crew, ask any assistant camera person why he or she prefers a Cinema lens. The answer would consistently be that precise lens markings make their job that much easier.

With focus being even more critical in the 4K realm, who doesn’t want the sharpest image to pull out all the detail from the sensor? You will still get great detail because of the sensor, but getting to that end result is much easier with a Cinema lens.

Try renting one for a shoot and see if it is an improvement over your other lenses. I am sure you’ll see the light.

Chuck Gloman is an Associate Professor and Chair of the TV/Film Department at DeSales University. He may be reachedchuck.gloman@desales.edu.