Conversion of still lenses to cinema lenses via 0.8 gear rings, 270° focus throw, declicked aperture, and standardized front diameter.
Standard cine-mods include the installation of 0.8 gear pitch rings on the focus ring (270-300° rotation range) and aperture ring (90-120° rotation range). The focus throw is extended to cinema standard of 270°, compared to the original 90-120° on photo lenses. Declicking the aperture rings allows for stepless aperture value changes during recording. Additionally, uniform front diameters (usually 80mm or 95mm) are installed for matte box systems, and lens length is standardized to minimize lens breathing when changing lenses.
The first systematic cine-mods emerged around 2008 from Duclos Lenses and GL Optics, as DSLR cameras like the Canon 5D Mark II revolutionized film production. In 2010, the 0.8 gear pitch established itself as an industry standard. Zeiss introduced factory-modified versions of their ZF lenses in 2011 with the CP.2 series. Since 2015, manufacturers like Sigma, Tokina, and Rokinon have offered direct cinema versions of their lenses, leading to a decline in the aftermarket mod market for high-end optics.
Shane Hurlbut exclusively used cine-modded Canon L lenses on RED Epic cameras for "Act of Valor" in 2012. Typical workflow: lenses are sent to the modifier 4-6 weeks before shooting begins, with costs ranging from 800-2,500 Euros per lens. For "The Avengers" (2012), Seamus McGarvey utilized cine-modded Leica Summilux lenses for handheld sequences. Advantage: a cost-effective alternative to Zeiss Master Primes (25,000+ Euros) with comparable optical quality. Disadvantage: 2-4 weeks delivery time and loss of warranty.
Cine-mods differ from native cinema lenses by retrofitting existing photo optics, whereas true cinema lenses are developed from the ground up for film production. Modern alternatives include factory cinema versions like the Sigma Cine or Canon CN-E series. For low-budget productions, cine-mods remain attractive: a cine-modded Canon 24-70mm L costs 3,500 Euros total, while a comparable new Canon CN-E 24-70mm costs 8,500 Euros. For high-end productions, native cinema optics are increasingly dominant due to better quality control and manufacturer warranty.
Ich verwende hauptsächlich cine-gemodete Zeiss ZF.2-Objektive, weil sie mir die gewohnte optische Qualität mit echtem Cinema-Handling bieten. Der 270°-Fokus-Throw gibt mir die Präzision für kritische Schärfezüge, die ich mit Standard-Fotoobjektiven nie erreichen könnte. Besonders bei Available-Light-Situationen sind die declickten Blendenringe Gold wert für nahtlose Belichtungsanpassungen.
Cine-Mods ermöglichen mir den charakteristischen Look hochwertiger Fotoobjektive ohne die mechanischen Kompromisse. Für emotionale Nahaufnahmen nutze ich gerne cine-gemodete Porträtobjektive wie das Canon 85mm f/1.2, das mir organisches Bokeh und sanfte Hautdarstellung liefert. Die präzise Schärfenachführung unterstützt meine Inszenierung, ohne dass die Technik zum Störfaktor wird.
Cine-Mods sind für mich der optimale Kompromiss zwischen Qualität und Budget – ein kompletter Satz cine-gemodeter Canon L-Objektive kostet mich 15.000 Euro statt 80.000 Euro für vergleichbare Zeiss Master Primes. Die 6-wöchige Vorlaufzeit für Modifikationen plane ich fest in die Prep-Phase ein. Wiederverkaufswert liegt bei 70-80% des Mod-Preises, was die Investition rechtfertigt.
1. Zu welchem Department gehört „Cine-Mod"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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