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    Just got the 7-14 today. It's sweet. And W I D E.

    The 14/2.5 is a stop and a half faster than the 14-140 or 7-14. So if you need a low-light lens, it's definitely got a place in the kit. It just depends on how much you need fast & wide. The 20/1.7 (which I also just got today, thank you B&H) is about a full stop faster than the 14mm. So to me the 20mm makes a lot of sense, it's a full 2.5 stops faster than the zooms. The 14mm makes less sense, in general, as it's only 1.5 stops faster. But it's also not released yet. If the reviews come in and proclaim it's awesome, then I might pick it up.
    ..
    The AU-EVA1 Book - The DVX200 Book - The UX180 & UX90 Book - Lighting For Film & TV - Sound For Film & TV

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      Yeah... i got the 20mm and the nikons 50mm 1.4 and 85mm 1.8 in B&H also.

      Now i feel that a need something wider, besides de 14-140mm that i already had from GH1. The obvious would be the 7-14mm, but i think its a little expensive. We'll see!

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        It is expensive for a 2:1 zoom, yes. But it's matched to the camera so that the processing removes chromatic aberrations from the footage, and makes the wide-angle image more rectilinear with less barrel or pincushion distortion. And, it's the widest lens out there that isn't a fisheye. Those factors all added up to me getting it. But yeah, a grand for a lens isn't the cheapest, that's for sure.
        ..
        The AU-EVA1 Book - The DVX200 Book - The UX180 & UX90 Book - Lighting For Film & TV - Sound For Film & TV

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          im looking forward to seeing how the tokina 11-16 f2.8 and the f1.7 20mm panasonic pancake lens do on the af100. Definitely plenty wide, and hopefully the tokina is fast enough.
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            For all those you will use the 7-14, please keep it locked off, or slow dolly moves. I fear this will be the most abused lens on af100.
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              Originally posted by Barry_Green View Post
              Just got the 7-14 today. It's sweet. And W I D E.
              My 7-14 just arrived today also. Had previously borrowed a friend's 11-16 Tokina to see how I liked it and compare to a 14. Barry, you commented before on how much difference there was between an 11 and a 7, but have to admit I wasn't prepared for how much wider that 7 actually is! Night and day.

              Agreed, the 7-14 is a real gem. Must resist fun house shots...must resist...haha - for the right shots, this lens is hard to beat. Actually, as of now, I guess there's nothing like it.

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                Yes, it's crazy wide. Way wider than the Tokina. I want to go to a football game and take a shot at full wide so I can compare it to our friendly neighborhood Tokina 11-16 wide shot...
                ..
                The AU-EVA1 Book - The DVX200 Book - The UX180 & UX90 Book - Lighting For Film & TV - Sound For Film & TV

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                  Why is the 7-14mm so expensive ?

                  Especially since it's pretty slow?

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                    Originally posted by Thomas Church View Post
                    Why is the 7-14mm so expensive ?

                    Especially since it's pretty slow?
                    It's not easy designing and manufacturing a lens which takes incoming light rays from such extreme non-perpendicular angles and bending them straight... among other optical challenges.

                    If cinematography wasn't infinite, I'm sure I would have found the end by now.

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                      It's "expensive" because it offers an extremely wide angle of view, rectilinear, with chromatic aberration compensation too.

                      Secondly -- is it expensive? Compare it to the competition. Nikon's closest would be their 10-24 DX lens, which is f/3.5 to f/5.6. Not nearly as wide as the 7-14, but still $900; Canon's version is the 10-22, which is still not as wide, 3.5-4.5, and $850. Or Nikon's "full frame" 14-24 f/2.8. That's about as wide as the 7-14, and a stop faster -- but it's also twice as expensive, at $2,000. Canon doesn't even offer a lens that wide for their full frame cameras, their closest is a 16-35, and that's $1700.

                      The 7-14 may cost more than we'd wish, but I think it's certainly priced quite competitively compared to what the other manufacturers offer.
                      ..
                      The AU-EVA1 Book - The DVX200 Book - The UX180 & UX90 Book - Lighting For Film & TV - Sound For Film & TV

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                        Finally nailed my 7-14 today on Ebay...
                        I now have pretty much what I need to get started once the camera arrives.
                        My lineup as it stands today:

                        Panny 7-14 (just acquired)
                        Panny 20mm 1.7 (got last month)
                        Panny 14-140 (got last month)
                        Nikon 55 macro 3.5 w/1:1 extender (had since 1969)
                        Nikon 50mm 1.2 (just acquired)
                        Tokina 12-24
                        Nikon 24-120
                        Nikon 80-200 w/2X tele extender
                        Rainbow Imaging Nikon to Micro 4/3 adapter
                        (would like to get the Panny 14mm 2.5 pancake for crane and steadycam work)

                        Originally thought I'd just use my existing Nikon glass, but I'm really glad I will have the proper camera to lens communication even though there is an overlap of focal lengths. I might get a GH2 since I now have the Panny lenses and dump the Nikon body along with the 12-24 and the 24-120. It would simplify what I carry around... I could just throw the GH2 in the kit for stills and it could possibly act as an emergency backup just in case the AFX craps out on a shoot... I'd at least be able to get something on video.

                        Now... on to the build of the new 64bit workstation and the upgrade to CS5 from CS3... still thrashing out preview issues (see post in Premier Forum and offer insights if you can)... thanks
                        http://www.vimeo.com/daleanthonysmith
                        http://www.youtube.com/user/multimed...ature=mhee#p/a

                        AF100, GH1(pair), Lumix Lenses: 20mm, 7-14mm, 14-140mm, 100-300mm Nikon Lenses: 55mm macro f3.5, 50mm f1.4
                        CS5 workstation 24gb RAM, ProAim Mattebox w/ 4" filters, CobraCrain Jib w/motor pan/tilt on Quickset Herculese jibpod

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                          Originally posted by tflak View Post
                          My 7-14 just arrived today also. Had previously borrowed a friend's 11-16 Tokina to see how I liked it and compare to a 14. Barry, you commented before on how much difference there was between an 11 and a 7, but have to admit I wasn't prepared for how much wider that 7 actually is! Night and day.

                          Agreed, the 7-14 is a real gem. Must resist fun house shots...must resist...haha - for the right shots, this lens is hard to beat. Actually, as of now, I guess there's nothing like it.
                          The Olympus 7-14 is actually better glass than the Panasonic - it's just 4/3 instead of 4/3, so somewhat larger.

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                            Originally posted by Multi-Media View Post
                            Finally nailed my 7-14 today on Ebay...
                            I now have pretty much what I need to get started once the camera arrives.
                            My lineup as it stands today:

                            Panny 7-14 (just acquired)
                            Panny 20mm 1.7 (got last month)
                            Panny 14-140 (got last month)
                            Nikon 55 macro 3.5 w/1:1 extender (had since 1969)
                            Nikon 50mm 1.2 (just acquired)
                            Tokina 12-24
                            Nikon 24-120
                            Nikon 80-200 w/2X tele extender
                            Rainbow Imaging Nikon to Micro 4/3 adapter
                            (would like to get the Panny 14mm 2.5 pancake for crane and steadycam work)

                            Originally thought I'd just use my existing Nikon glass, but I'm really glad I will have the proper camera to lens communication even though there is an overlap of focal lengths. I might get a GH2 since I now have the Panny lenses and dump the Nikon body along with the 12-24 and the 24-120. It would simplify what I carry around... I could just throw the GH2 in the kit for stills and it could possibly act as an emergency backup just in case the AFX craps out on a shoot... I'd at least be able to get something on video.

                            Now... on to the build of the new 64bit workstation and the upgrade to CS5 from CS3... still thrashing out preview issues (see post in Premier Forum and offer insights if you can)... thanks
                            Another good example of my continuing belief that DSLR's and camcorders do not have to be mutually exclusive, that it is a false polemic, and that many, many folks will be working in this way. I wonder how long before he will be shooting multicam? He He... :-) If there is moire or aliasing there, he doesn't have to use the footage from the GH2, if there isn't he has a more dynamic edit and he is covered for the AGF100 on top of that.
                            Last edited by yoclay; 11-08-2010, 03:12 AM.

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                              My only interest in the GH2 is the crop mode. I am very interested to see how that footage sits with the AF100.
                              formerly know as grimepoch.

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                                Originally posted by grimepoch View Post
                                My only interest in the GH2 is the crop mode. I am very interested to see how that footage sits with the AF100.
                                If the sensor is cropped to a smaller size could we just use a smaller sensor to begin with? The whole idea is to have a sensor as close to 35mm as possible.

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