FS7: 18-105 on the fs7...Is it working for you?
- Thread starter Chris Johnston
- Start date
dmitrizigany
Veteran
It's quite a perfect range for the only situation where I use zoom lenses, which is live performances on smaller/medium stages. Unfortunately they don't pay enough to warrant a €2500 lens. I'd love to see an economy version in the style of the 18-105, that would be amazing. I miss the 18-200 PZ for this stuff as well, although it was a bit too dark for some venues.
Lenilenapi
Carbonite Member
I gave up on Canon 24-105 with speedbooster when I got hit with bad CA on an outdoor shot with metal vertical railings. Hadn't noticed any problems before that. May replace with Sigma though.
Bern Caughey
Veteran
While f/4 lacks bokeh-akee I find it a reasonable choice for interviews when pulling my own focus, especially if dealing with bobbleheads. And the 5:1 zoom range of the 28-135mm is very handy when called upon to change composition constantly.
28-135mm is also a great focal length when shooting multi-cam. One OP covers the wide-to-middle focal lengths with something like a 16-40mm, or 17-75mm, & the other handles to mid-to-long with the 28-135mm.
28-135mm is also a great focal length when shooting multi-cam. One OP covers the wide-to-middle focal lengths with something like a 16-40mm, or 17-75mm, & the other handles to mid-to-long with the 28-135mm.
It's a hard choice, as Sigma is better optically (no loss of light on the longer end) while Canon has better (stronger) stabilisation.
Chris Johnston
Veteran
It looks like I should maybe go with the 16-70z.
Chris Johnston
Veteran
And then you turn around and see something like this...
"One other note - all handheld material was shot on the 18-105 with IS activated. Much hated by internet chatters and lots of blah blah about pincushion distortion.
But for me, it has proven to be a thoroughly respectable workhorse lens, it's worked in all sorts of conditions, gives good results in 4K and I just can't bring myself to replace it with anything else. Also, the new firmware has made it feel more like a regular mechanical lens.
Ben. "
https://vimeo.com/169846070
Maybe I should just rent for a bit and see for myself. so confusing.
"One other note - all handheld material was shot on the 18-105 with IS activated. Much hated by internet chatters and lots of blah blah about pincushion distortion.
But for me, it has proven to be a thoroughly respectable workhorse lens, it's worked in all sorts of conditions, gives good results in 4K and I just can't bring myself to replace it with anything else. Also, the new firmware has made it feel more like a regular mechanical lens.
Ben. "
https://vimeo.com/169846070
Maybe I should just rent for a bit and see for myself. so confusing.
Clermond
Veteran
Renting for testing is always a good idea. But at this price point you can buy it (used) and sell it if you don't like it. There won't be a great loss and you can test it more intense than at a one day rent.
Nirv
Carbonite Member
Here's a demo of the pillow distortion from the 18105.
You can see the distortions in the verticals of the scene but to be fair when the scene gets busy it's much less noticeable. It's a great shame Sony decided to 'fix' the lens in camera and not ensure distortion was a bit more in keeping with accepted norms without needing firmware assistance.
I think barrel distortion particularly at the wide end is more aesthetic and more acceptable than the pillow distortion of this lens.
You can see the distortions in the verticals of the scene but to be fair when the scene gets busy it's much less noticeable. It's a great shame Sony decided to 'fix' the lens in camera and not ensure distortion was a bit more in keeping with accepted norms without needing firmware assistance.
I think barrel distortion particularly at the wide end is more aesthetic and more acceptable than the pillow distortion of this lens.
dmitrizigany
Veteran
That's an old video and since then the FS700 has in-camera correction for that lens as do the FS5 and also the FS7, I assume.
The in-camera correction doesn't work when recording from the raw signal though for obvious reasons. So on the FS700 it's an HD only lens...
Nirv
Carbonite Member
The FS7 does not correct 4K or S&Q so no matter how old the video is it accurately shows the distortion you can expect to face.
alaskacameradude
Veteran
Have you tested this? I'm not saying you are wrong, I am just wondering because it was also said that the in
camera correction for this lens would not work in 4k or S&Q on the FS700. Which I took as true for some time.....until
I tested it myself. And surprise! The in camera distortion correction totally worked in 60fps, 120fps, 240fps even 480fps on
the FS700. I had a blog post on this from awhile ago. Since my blog post, the lens has also received the update
which improves on the 'focus by wire' problem.
http://alaskacameradude.blogspot.com/2015/04/sony-18-105the-baby-sea-monster.html
dmitrizigany
Veteran
Surely the FS5 must have the correction in 4K? (as it's the kit lens). That would mean it should be possible for Sony to add correction for at least internal 4K on the FS7 as well...
Ben Scott
Veteran
Why would you think that?
Yes, the FS5 corrects the 18-105 in 4K and quite nicely. I have used it as an interview lens as well as a run and gun lens in HD and 4K.
allenfacemire
Well-known member
I have the Sony SELP 18-105. I opted for that lens as opposed to the kit lens which is cost 3 times more and is kind of clunky. The kid lens doesn't seem to be any sharper, at least not in my tests.
Can't speak to 4k but there seems to be a professional opinion the SELP is NOT at all suited for 4k.
I only use the 18-105 on jib work, when I can't get to the lens and need glass that communicates with the camera. It's good enough for that purpose. The rest of the time it's either in my bag or I sometimes mount it on my A7s. For $600 it serves a purpose and for that amount, it can be at the ready.
My main glass are Nikons.