Best run n gun zoom lens suggestions

Hi there, just to be super-clear, are you really saying that the OIS on the Panaleica 14-50mm f2.8-3.5 does work with the AF100/AF101?
I'm only asking because in the panasonic lens compatibility table for the AF100/AF101 it lists that lens but shows that the OIS is not compatible.

I would REALLY like to confirm this for sure, as I'm very interested in the Pana-Leica 14-50 as a good zoom with OIS for the AF101.

THanks

REgards

Dave
 
DRC_ONLINE said:
...just to be super-clear, are you really saying that the OIS on the Panaleica 14-50mm f2.8-3.5 does work with the AF100/AF101?
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The Panasonic/Leica 14-50's OIS works on the AF100 (& GH2), but distance readouts are inaccurate. The distance readout is inaccurate with the Olympus' 14-35/2 too, so perhaps it's an issue with all 4/3 lenses.
 
I'm looking to buy a Tokina 16-50 Nikon mount and there's two Novoflex Nikon/M43 adapters, one for G lenses and one for any Nikon, which do I need for the Tokina?
 
I can't see past the Nikon 17-55mm DX f2.8 lens, this will give you everything for run & gun plus the advantage of f2.8 all the way through.
 
HDWarrior said:
I can't see past the Nikon 17-55mm DX f2.8 lens, this will give you everything for run & gun plus the advantage of f2.8 all the way through.
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No aperture ring; for many of us, it's a must.

(...and for us, adapters like the Novoflex don't cut it).
 
@ Steve R +1

Aperture ring + OIS + Leica glass = Panasonic 14-50mm f2.8-3.5

Downside is that your shots must be pre-framed and pre-focused. For handheld narrative scenes, I can work with that. ENG, maybe not so much.
 
lpowell said:
@ Steve R +1

Aperture ring + OIS + Leica glass = Panasonic 14-50mm f2.8-3.5

Downside is that your shots must be pre-framed and pre-focused. For handheld narrative scenes, I can work with that. ENG, maybe not so much.
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Too many negative user comments on B&H about this lens regarding mechanical breakdown of zoom ability @ 22mm. Here's two:


Comments about Panasonic 14-50mm f/2.8-3.5 Vario-Elmarit Aspherical MEGA O.I.S. Lens:
This lens is very prone to internal mechanical failure. I bought this Leica lens initially together with my Panasonic Lumix DMC-L1 kit, and after 2 years the zoom mechanism jammed up unexpectedly without receiving any bumps. I replaced the lens with another new one while I awaited repair of the old lens. I have since discovered this is a very common problem of this lens when used on both its Panasonic DMC-L1 and Leica Digilux identical cameras. As this is the primary lens of an expensive camera system without an alternative primary lens, it forced me to change to a new camera system and forfeit all the accessory lenses and equipment I had purchased.

I note both Leica and Panasonic have ceased to sell the DMC-L1 and Digilux cameras carrying this lens. I hope Panasonic (and Leica) will announced a camera and lens recall of this expensive camera system due to the commoness of the design-manufacture defect and the fact the defect forces one to abandon an entire canera system with accessories. They should offer exchanges for other equipment.

BOTTOM LINE No, I would not recommend this to a friend

Comments about Panasonic 14-50mm f/2.8-3.5 Vario-Elmarit Aspherical MEGA O.I.S. Lens:
This lens was great for the first 3 years I owned it. The one day it decided to stop zooming in past 22. It made no sense to me as I always took great care of the lens. I thought maybe someone else had dropped it and not told me about it until I did some research online. Apparently this has happened to many other photographers using this lens.

This was my first lens/camera and I'm not too happy that I need to pay $500 to fix the darn thing because of a defect. I was always under the impression that Leica made top quality products and was a reason I spent the extra money on this camera. I'm no pro, and didn't use the lens on an everyday basis so for it to break down like this for this price is a shock to me.

Beware..great lens with the durability of a Dollar Store Item
 
Those are the comments about the Leica 14-50 I've seen too - too bad, it could have been a nice choice - maybe they'll remount the lens in a more pro-cine-friendly package... Maybe even a slightly longer high end and consistent f2.8.... Hope springs eternal...

I'm going over old ground now, just for clarification... The Nikon has no aperture ring, right? - the Tokina does have an aperture ring... does that mean the iris can be smoothly adjusted? Which direction does the Tokina focus? (I know it's a Pentax design, so I hope it's a traditional focus). Are either of these lenses parfocal? How does breathing compare? I'm aware that there are probably 500 posts with these questions, but humor me just to have the answers in one place...
 
Hey Mac

I think that your particular issue with focus direction will always make your task of finding an adequate lens...that one big step more difficult than the rest of us.

We all struggle but you have eliminated one whole range of lenses..of which only a few are "adequate" anyway.

I bet that you could do the focus thing if you really tried.
 
The Tokina 16-50 does not have an iris ring, it has to be adjusted with a novoflex or MTF adapter. For the price though, it might end up being my made range zoom. The 11-16 tokina F mount focuses like a nikon lens.. the wrong direction, so im going to assume the 16-50 in F mount focuses the same way. Its no biggy.
 
Shooter said:
I bet that you could do the focus thing if you really tried.
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Hey, shooter, I'm 67 and I've been doing it one way for 48 years - and I don't adapt well. I actually do own two old Nikon Fs and several good lenses which I used several times with an M2 on the HVX200, for commercials - and could do it again if push comes to shove... I just don't want to spend $1,500 plus on a lens and adapter if there might be a better option available. If I committed totally to Nikkors, maybe I could adapt more easily - but I primarily use my Leica-R and Canon FD lenses, so that's the problem.

Also, if the 17-55 was an old style lens, with an iris ring and a real world focus with an infinity stop, I would be more interested - that's why I asked about the Tokina.
 
test AF100 Ergonomics

test AF100 Ergonomics

Please watch this film, and judge for yourself. Since producing this film I have used the Panasonic 14-42 OIS lens, which is a bit easier to handle off-shoulder situations, but the very slow iris and square design keeps bothering me.

http://www.youtube.com/watch?v=Z8DaKgDTBw0
 
davidje said:
Please watch this film, and judge for yourself. Since producing this film I have used the Panasonic 14-42 OIS lens, which is a bit easier to handle off-shoulder situations, but the very slow iris and square design keeps bothering me.

http://www.youtube.com/watch?v=Z8DaKgDTBw0
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Yeah - this camera isn't a lot of things, in fact it doesn't seem to be anything that you are looking for.

I on the other hand find it to be a great camera - I only use PL cine glass on it, full manual (focus and iris), no OIS etc, etc… Me and my crew & my 2 af100's are booked straight through until Christmas, there isn't any possible way for me to shoehorn in another day of shooting. My clients love the footage that they are getting (Air Canada, Canadian Tire, Sobeys, McCormick Spices, TAXI Advertising, etc) so I don't really care about where the 'on' switch is (that is the most laughable part of his critical test film) as long as the switch is there.

This cam fits smaller budget advertising shoots & is perfect for my clients who want to go straight to web - with an eye to maybe use the footage for broadcast if needs change. These cameras have to this point made their money back 40x over.


G.
 
I've said this before, so excuse me for repeating myself...

But, personally, I've gone back to the olden days of shooting with a semi-wide like I used to do in 16mm. I use the 28mm Leica and the 20mm Canon. When I need closer, I move in, when I need wider, I step back. I keep one lens in a vest pocket and work w/o the matte box to facilitate changing lenses. I use the Z-Finder and Aaton grip and handhold almost exclusively.

I have a very small camera bag with a 50mm Leica and a 100mm Canon that I can carry if need be. Until a decent zoom becomes available (which is beginning to look like never), that is how I work every day.
 
The location of the power switch doesn't bother me, but my fingers just refuse to be able to find the run/stop button when I'm trying to handhold. I often have to take the camera down from my eye and actually look, then carefully position my right index finger on it before starting. Often as not, my finger has slipped off by the time I'm ready to stop rolling and I have to glance at it again. On sticks I use a Varizoom remote which helps a lot, but I'm used to the red button falling right under my thumb on ENG lenses and my HMC80, and I find that the biggest design flaw when using the camera. I chuckled at the comment in the video that went, to misquote slightly, "Ergonomics? It has no ergonomics!" :-) I don't find that to be totally true (I actually like the shape and comfort of the right-side grip aside from the button issue), but I do get the joke, for sure.

- Greg
 
heavyG said:
Me and my crew & my 2 af100's are booked straight through until Christmas, there isn't any possible way for me to shoehorn in another day of shooting.

These cameras have to this point made their money back 40x over.
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Wow, I can only dream :shocked:
 
mkfotos.com said:
Wow, I can only dream :shocked:
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Hustle, connections, and a couple of decades of track record… and I'd never call myself a 'DP' or cinematographer, on that front I only have fair to middling skills; clients just seem to like working with me.
 
heavyG said:
Hustle, connections, and a couple of decades of track record… and I'd never call myself a 'DP' or cinematographer, on that front I only have fair to middling skills; clients just seem to like working with me.
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Professionalism, charm, and personality help a lot. I could be the best at whatever, but if my people skills sucked (which they kinda do), I couldn't even flip burgers at McD's. I know some people whose actual work is mediocre, but they're booked solid, and busy cranking out more of it for happy clients (not in any way implying that's you). Thankfully I also know some people whose work is amazing, who are also booked solid, and getting well paid for their talent and experience.
 
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