The Tuner is the world’s first variable-look cinematic lens system that can bring a classic film aesthetic to modern mirrorless digital cameras.
The worldwide patent-pending L-series Tuners utilize custom optical designs to faithfully recreate the look of vintage cinema lenses, allowing users to achieve the look and feel of old glass without payingBeyond the relative scarcity and high price of sought-after vintage lenses, users are also limited by available focal length and aperture combinations.
Another advantage of The Tuner is that it promises an “in-focus look.” The Tuner works with a lens’s autofocus and image stabilization systems and doesn’t rely upon incorrect focus to deliver softer cinematic looks. Further, The Tuner supports EF to E and EF to RF electronics, ensuring that users enjoy modern features and amenities without sacrificing a vintage look to their photos and videos.
Certain lenses may have limitations in particular situations, although time will tell. The Tuners feature USB ports to allow for firmware updates following launch. Moment has published aEach Tuner features custom electronics and calibrated cam motors to move optical components, so it’s reasonable to expect that performance will vary based on the attached lens. Autofocus speed is more likely to be noticeably affected for lenses with bigger optical groups that move a larger distance for focusing.
The clever Vari-Tune technology allows users to “zoom” the look of a lens on demand, all while maintaining focus. The Vari-Tune technology requires optical elements within The Tuner to actively move in response to the user’s input, which makes it much more sophisticated and versatile than just a vintage lens or a de-tuned modern lens.
“We can even add coma, astigmatism and other aberrations to render the edges of the frame in a softer way and create unusual depth of field effects. For example, our L3 Retroscope lens was designed with similar off-axis astigmatism found in vintage anamorphic lenses. This can be used in a number of new and exciting ways and can make your 2.35:1 crop of spherical footage look more anamorphic even though it was shot on spherical lenses,” Module 8 says.
Neill and Thomas wanted to go beyond custom lens shops that, while capable, rely more on luck than scientific, repeatable design and manufacturing processes. Customized cinema lenses rely heavily upon the intersection of science and art, something the duo wanted to replicate with the Module 8 Tuners.
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