Ikan launches E-Image large-format zoom lenses for high-end cinema sensors
Ikan's E-Image brand is set to launch new large-format zoom lenses targeting owner-operators in high-end production. These lenses are designed to cover full-frame and larger sensors found in cameras like the Sony FX9, ARRI ALEXA Mini LF, and RED V-RAPTOR, offering an affordable option for optical coverage.
Key Takeaways
- Lenses are engineered to resolve image circles for full-frame and larger sensors without the corner softness often found in vintage glass.
- Hardware features includes constant maximum apertures and a standard PL mount for professional camera compatibility.
- Mechanical design prioritizes cinema-standard focus throws and precision control to minimize focus breathing during production.
- Pricing aims for the 'affordable cine' segment to bridge the gap between high-end optics from Cooke/Angenieux and consumer-grade stills lenses.
Why It Matters
The release addresses a critical inventory gap for independent production crews working in the high-resolution, large-format era. As streaming services increasingly mandate native 4K or 6K capture, owner-operators have faced a binary choice between ultra-premium rentals or repurposing photography zooms that lack mechanical precision. By providing optics specifically resolved for sensors like the RED V-RAPTOR, Ikan enables a broader tier of creators to maximize the fidelity of their hardware investments. This move signals a maturing market where specialized large-format coverage is no longer exclusive to Tier-1 rental houses. Watch for upcoming laboratory tests on parfocal performance and chromatic aberration to determine if these lenses can truly compete with established mid-tier options from Sigma or Zeiss.
Additional Context
The demand for high-performance optics is accelerating as camera manufacturers release increasingly affordable large-format bodies. In January 2026, Blackmagic Design introduced the URSA Cine 17K, a 65mm sensor camera priced 60% below flagship competitors, per Mordor Intelligence. This shift toward massive sensors has forced a reckoning in lens design; traditional Super 35 glass often vignettes or loses resolution at the edges of the newer, wider sensors. Rental houses now report that full-frame kits earn a 25% daily rate premium over Super 35 equivalents, according to May 2026 market data, reflecting a hierarchy where large-sensor aesthetics are used to distinguish streaming originals from standard broadcast content.
Competitors are rapidly pivoting to fill this mid-tier void. In May 2026, Zeiss introduced the Panoptes 65 line, a specialized prime set with a 59.9mm image circle specifically for the high-end ARRI Alexa 265 and Fujifilm GFX Eterna, per The Cine Lens. Simultaneously, Sony updated its entry-level professional lineup with the FX9 Mark II in March 2026, featuring improved low-light performance to remain competitive for documentary and corporate crews. As the cinema camera market is projected to grow to $720 million by 2031 per Mordor Intelligence, the battle for dominance is moving from the camera body to the lens mount, with manufacturers focusing on metadata integration and workflow efficiency for virtual production environments.
Read full article at nofilmschool.com
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