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    Third-party e-mount lenses and lens distortion compensation
    #1
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    Hello,

    The title says it all pretty much.

    Specifically, before buying it, I was wondering if using the Tamron 28-75mm F2.8 Di III RXD on the FS7 would allow me to use the in-camera lens distortion compensation.

    Thanks...
    Last edited by vilrockerdefer; 06-12-2019 at 05:45 AM.


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    #2
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    Proabably not. But I'll bet it isn't needed anyway. Have you heard that this lens suffers from distortion? If so, don't buy it at all whether it can be corrected or not.


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    #3
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    Well, as all the zoom lenses in this price range (below 1K$), it does suffer from distortion. Automatic correction makes a huge difference for some of the lenses I tried...


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    Hmm, I don't recall needing distortion control for my Canon EF 24-105mm f/4 on the couple of times I tried it on my FS7. I think I bought it for $800 as a gray market model through Amazon.

    Edit: Okay I see you are looking specifically for native e-mount lenses so maybe the Canon is not what you are looking for. But my advice is still not to invest in any lens that requires distortion control. Get a speedbooster for the Canon and it's not a bad lens if you want to use SLR lenses.
    Last edited by Doug Jensen; 06-11-2019 at 03:22 PM.


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    #5
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    Thanks. My experience with the sony 18 200 and distortion control is not bad. Besides, I need autofocus and to use the lens on both the Fs7 and my A7. According to reviews, the tamron beats them all. But at max focal range it's well possible that lens disto comp would be helpful. So if anyone knows the answer...


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    #6
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    I use the Sony 18-105 and in 4K the distortion correction doesn't work. But it is no problem at all to do that in post.


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    #7
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    Quote Originally Posted by vilrockerdefer View Post
    ...to use the lens on both the Fs7 and my A7...
    You might end up disappearing down a rabbit hole with this. Assuming you wish to shoot FF on the A7:

    1) 28 good for FF wide. Useless for S35.
    2) If you go for an effective S35 wide-angled long range zoom (ie minimum 18), you’re in S35 zoom territory - no good for your FF A7.
    3)If you’re not shooting any FF, go back to point 1. Rinse and Repeat.

    There’s some great crossover between E Mount glass between FF and S35, but not with long range zooms for video.
    Ben Giles GBFTE BAFTA

    www.matobo.co.uk

    @MatoboLtd


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    #8
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    Oh, and Publimix’s suggestion of the 18-105 is a goodun. I think that’s a great budget option for HD S35 on the FS7. Distortion correction definitely works, but only in HD and there’s some other silly gotcha on the monitor LUT that I’ve blissfully forgotten.
    Ben Giles GBFTE BAFTA

    www.matobo.co.uk

    @MatoboLtd


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    #9
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    Well since I've already gotten the 18-200 I will not buy the 18-105. I need to keep the 18-200 for certain kind of films I do.

    I would buy the Tamron mostly for my A7, taking pictures. But would benefit from its 2.8 aperture and nice optics when filming interviews.


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    #10
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    My 2 cents of experience with most of the decent FF photo lenses is not so much distortion as most of them appear to be pretty rectilinear. I find if there is a weakness with most of the non native lenses is that there is no compensation for chroma aberration. Nasty CA issues are much harder to fix in video than they are in stills. On the FS7 with a speed booster ultra I find the range and one stop speed increase, to f2.8 of the Sigma ART 24-105mm f4.0 lens comes in as a good combo. Works very well for interviews. Of course it's back to f4.0 on a FF body.

    In most situations I find the added reach, nearly 4.4 x of the 24-105 more useful that the extra stop and the 3 x range on the 24/28-70/75mm lenses. On FF with the 24-105 I can set up further back in an interview and shooting wide open at f4.0 and can generate a very similar look look to a 24-70 at f2.8 that's if you are after subject separation from background. Find I'm using the 24-105 much more than the 24-70. Why the Sigma 24-105? I find it is the one 24-105 that maintains constant aperture over the range as opposed to the Canon 24-105 I used previously as that lost nearly a stop at 105.

    Chris Young


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