icarusfilm
Veteran
I'll just hold on to my 18-105 f4 which is (at least in HD) way better than I thoght it was going to be. For more controlled stuff I have the 50 and 35mm zeiss loxia these are really nice and small to Cary around.
FS7: FE 28-135mm 1:4
- Thread starter camboy
- Start date
allenfacemire
Well-known member
No...I wouldn't consider using that little Sony G lens for doing anything in raw or 4k. A basic lens for R&G interviews. I just shot some standups for a little PBS show we do and they were fine. Did some with the auto focus because the fly by wire focus is a ***** to do follow focus. Turned out ok but I did have a couple of buzzed shots because of the surrounding foliage. Should have switched on the auto focus area mode thingy I reckon. Or go to a real lens which is what I will do next time.
Lenilenapi
Carbonite Member
Trouble with that lens is you either tolerate the extreme bowing or if you turn on the distortion compensation which works great , but not only does it not work in 4K or HDR but even in HD in CINE EI it forces you into LUTs on everything or LUTs off everything including internal LUT recording. That was my experience anyway.
icarusfilm
Veteran
I only use it in standard or Hypergamma I never shoot Log of any kind nor do I do 4K except interviews using 4k as a 4x extender on my telephoto. For R&G MPEG-2 HD with distortion compensation it works great. And that my friends is still what pays the bills.
Lenilenapi
Carbonite Member
I can dig it. whatever works.
moldcad
Veteran
This is confirmed by Doug Jensen in his FS7 video - however, I'd appreciate if someone in the know answers a more general question on potential use of various lenses: how do I know up-front whether or not a given lens will or will not be corrected against pin-cushioning on the FS7? Is there a one single characteristics of a lens this depends upon?
The SELP 18-105 lens is very attractive in terms of the price and ability to talk with the camera both ways, but severe pincushioning excludes it as a candidate for serious 4k shooting...
morgan_moore
Major Contributor
If you can afford it.. it is corrected!
dmitrizigany
Veteran
I was gonna say "if the price seems too good to be true the lens needs to be corrected in camera" 
moldcad
Veteran
So, Morgan's words should have been " If you can afford it.. it needs to be corrected by the FS7!"
But then: the problems is not so much in it needing to be corrected, but in that it cannot be properly corrected. So, my original question remains: how do I tell a lens that (needs to be) and can be successfully corrected for pincushioning in the FS7 from one that either doesn't need to be corrected at all (OK - the price tag criterion may apply here), or needs correction which can actually be applied by the camera?
From Doug Jensen I know the 18-105 falls into the first category (OK - so it's too cheap to be otherwise, if I was to use your logic) - but suppose I like some $3000 lens' specs on paper and would like to buy it... What is the criterion in those specs that would tell me whether:
- it doesn't pincushion in the FS7 - go with it!, or
- it pincushions, but can effectively be corrected by the FS7 - it's OK
- or, like the one discussed here (SELP 18-105 F4): keep away from it as it's pincushioning in the FS7 and cannot be corrected!
This basic question (when it comes to buying lenses for the FS7) might be answered somewhere in Doug's FS7 video, but - not having decided to buy the camera yet, I didn't pay for the video and only have seen the first free chapter. Can anyone who saw the entire Doug's video help?
But then: the problems is not so much in it needing to be corrected, but in that it cannot be properly corrected. So, my original question remains: how do I tell a lens that (needs to be) and can be successfully corrected for pincushioning in the FS7 from one that either doesn't need to be corrected at all (OK - the price tag criterion may apply here), or needs correction which can actually be applied by the camera?
From Doug Jensen I know the 18-105 falls into the first category (OK - so it's too cheap to be otherwise, if I was to use your logic) - but suppose I like some $3000 lens' specs on paper and would like to buy it... What is the criterion in those specs that would tell me whether:
- it doesn't pincushion in the FS7 - go with it!, or
- it pincushions, but can effectively be corrected by the FS7 - it's OK
- or, like the one discussed here (SELP 18-105 F4): keep away from it as it's pincushioning in the FS7 and cannot be corrected!
This basic question (when it comes to buying lenses for the FS7) might be answered somewhere in Doug's FS7 video, but - not having decided to buy the camera yet, I didn't pay for the video and only have seen the first free chapter. Can anyone who saw the entire Doug's video help?
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moldcad
Veteran
OK, so I understand now that pincushioning of the SELP18-105) is the lens inherent "feature" - not just in combination with the FS7. Doug Jensen says it requires setting the Auto Correction to AUTO on the camera; does anyone have an example of the lens pincushioning "as is" vs. how it looks on the FS7 with Doug's recommended setting? TIA
Piotr
Piotr
FrameFarmMedia
Veteran
If you google "18-105 Sony Pincushion" There are tons of threads on stills sites with examples.
FrameFarmMedia
Veteran
Yes the FS7 (unlike the FS700) has correction build in but only in HD up to 60fps I believe. I don't know if I will have time today to take two shots one corrected and one uncorrected to show. I might be able to tomorrow.
dmitrizigany
Veteran
The latest firmware update (3.10/2.10) adds support for 18-105 correction on the FS700 as well. I believe the limitations are the same, HD and up to 60fps.
alaskacameradude
Veteran
I thought the same but this is incorrect. The FS700 adds correction (in HD)
including at HFR (240fps) with this lens with the new firmware update. I have tested
this myself. The slow motion footage is corrected when shooting internally at least.
I'd be grateful to see it, too. I can't persuade my 18-105 to display any pin cushion effects, despite switching correction off and trying to provoke it. So far, I think it's a cracking little lens.
dmitrizigany
Veteran
Interesting! Thanks for correcting me
the 18-105 is my next lens to pick up. Although mainly for shooting live performances, which is usually only at 25fps
icarusfilm
Veteran
I thought it was going to be an emergency only lens but I have to say as far as zooms go its the most useful all-round lens I have encountered since joining the Large sensor camera circus.