Dulens Mini Prime 58mm T2.4 PL-mount black

Dulens Mini Prime 58mm T2.4 PL-mount black

The Dulens Mini Prime 58mm T2.4 PL-mount lens (black) is part of the Dulens APO Mini Prime series. These lenses are ideal for cinematographers looking for that elusive vintage look with low contrast and clear flares. However, they are not compromised by the uncorrected images of vintage primes that cause chromatic aberrations. These mini primes come in a cinema housing with a non-extendable, non-rotating front. Their long, smooth focusing distance with no backlash makes them perfect for premium productions. They are among the smallest large format cine primes and are optimal for small-scale productions, drone shooting, gimbal work and other scenarios where a compact and lightweight camera configuration is crucial.

Each Dulens Mini Prime offers a huge image circle compatible with almost all large-format cameras, including the Red Monstro and Arri LF. The 58mm and 85mm are specifically compatible with the ARRI Alexa 65.

"APO" stands for apochromatic, a lens design that is superior in correcting chromatic and spherical aberrations compared to more common achromatic lenses. The APO standard in Dulens' miniprime lenses is not derived from aspherical elements, but from a refined lens design that reduces chromatic aberrations. Aspherical lenses have shortcomings, notably the unwanted 'onion bokeh'. Dulens provides pronounced, clear bokeh. Thanks to a high number of iris blades, the bokeh remains circular, even at t5.6 or t8.0, without unwanted bokeh texture such as onion rings.

The Dulens APO mini prime series includes 31mm, 43mm, 58mm and 85mm. More lenses, such as the 21mm, are forthcoming. Dulens is also exploring both wider and longer focal lengths, all while maintaining the same design philosophy. All optics are original and inspired by classic designs, but redesigned using modern techniques, focusing on reduced chromatic aberrations and improved MTF. These lenses maintain consistent contrast, colour and flare properties, making intercutting effortless.

The lenses use a new "V" or VL coating. Although many filmmakers prefer uncoated lenses because of their unique flare and fog/flare properties, such lenses can complicate exposure, reduce light transmission and affect colour accuracy. The V-coating offers an attractive flare style without the transmission loss that occurs with white glass or uncoated lenses. Lens flares exhibit dynamic, multi-coloured patterns, unlike most modern coatings that produce monochromatic flares.