FS7: FE 28-135mm 1:4

Turn correction off and then shoot a doorways - you'll see it alright.
I'm not sure which thread I mentioned it on , so if this is redundant I'm sorry. If you have distortion correction on auto to fix the lens then in CINE EI you can only get ALL LUTs OFF or All LUTs ON. Sp if you want a LUT you have to record it.
 
What about a Canon 17-120 Cine Servo EF with a speed booster?

Possible? It's an interesting thought since it would make the 17-120 into the FF equivalent of 12mm on the wide end and turn the lens into a T1.95. And it wouldn't add any more physical length than would the PL version of the same lens using a PL to FZ adapter or PL to E-mount adapter.
 
The issue for "run and gun" ( which I submit is MOST shooting ) is that 28mm isn't wide enough and by the time you swap to another lens you've missed the action. When you have an 18-35mm on the camera or even a 24-70mm you lack what you need on the long end.

Think of shooting for a "reality" tv show- you need to be able to go really wide to capture three individuals having a conversation only a few feet in front of you ( and you have no space to back up or the time to back up ), darn near fisheye. But you also need enough zoom to be able to obtain a closeup of an object in the hand of one of those individuals such as a set of car keys or whatever. And be able to frame someone waist-up who is standing 20 feet away from you.

The B4 lens that is the industry standard for such shooting is the Fujinon 4.5-59mm f/1.8. That lens also has a 2x extender. So you had a lens that gave you a range of 4.5-120mm, or roughly 12mm-336mm ( 35mm equivalent ). [ if my math and inputs are correct. ]
[h=1][/h]Consider the difference between 12-336mm and 28-135mm. And the difference between f/1.8 and f/4.

In my work I jump back and forth between using an Fs7 with the 28-135mm f/4 and 2/3" cameras with the Fujinon 4.5-59mm f/1.8. The Fujinon is liberating. It just makes you such a better shooter and a more creative shooter. There is just so much more you can do with that lens over the Sony 28-135mm. That super wide Fujinon makes handheld walking shots SO much more smooth.

I can't speak for everyone, but my local buddies who were used to B4 zooms pretty much agree with me that the s35 zooms suck by comparison in regards to what you can do with them. Not only the focal length range that b4 zooms provided but having the servo on the lens which makes it possible to zoom, focus, and ride the iris all with one hand. EF zooms? Forget it. A nightmare for anyone who came up on B4 zooms.

The only s35 zooms that come close to the all around abilities of B4 zooms are the Canon Cine Servo and the Cabrio. But the prices for those zooms are out of reach of most.

Have any of you started out on c300 type rigs with EF glass and then gone "backwards" to something like an HDX900 with a b4 zoom? I am curious as to what that was like, curious if it was liberating or not.
 
icarusfilm said:
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.
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Same here, brother. I shot over 200 days last year for at least 30 different clients and every bit of it was MPEG-2 HD. Broadcast tv segments, reality shows, BTS on feature films, corporate, industrial, web content.
 
bengiles said:
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.
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Same here. Correction on, correction off...the lens doesn't pincushion.

I DO warn that that lil' bugger is extremely difficult to follow focus with. Subject framed waist-up and walking towards you...forget about it. Near impossible unless you are stopped way down. I all but gave up on the 18-105 because of that and went back to the Canon 24-70 f/2.8. I'd rather shoot with the Canon 24-105mm over the Sony 18-105mm. I'd sacrifice the wide end to better be able to ride the focus. Although all of them are a B compared to true cine zooms.

The Sony lens I can't say enough good things about is the Sony 10-18mm. It's the cutest lil' thing ever and it's razor sharp. It's so small that it's easy to carry around with you and slap on the camera anytime you need a really wide shot.
 
JPNola said:
What about a Canon 17-120 Cine Servo EF with a speed booster?

Possible? It's an interesting thought since it would make the 17-120 into the FF equivalent of 12mm on the wide end and turn the lens into a T1.95. And it wouldn't add any more physical length than would the PL version of the same lens using a PL to FZ adapter or PL to E-mount adapter.
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First of all the 17-120 T2.95-3.9 would become a 12-85 T2.1-2.8. Second of all there's no chance the 17-120 covers full frame so it won't work without vignetting except maybe toward the longer focal lengths.
 
I tried the 28-135 yesterday. It's one strange lens. Hard stops but fly by wire and odd focal length on the FS7. I don't know how Sony came up with the design but it's not a lens to get.
 
28-135 isn't totally fly by wire. Can adjust iris manually with declicked option. Can focus manually. Only weakness is manual zoom-- doesn't totally disconnect from servo so manual zoom is slow. Sony is looking into a firmware remedy.

I dislike the lack of zoom focal length markings.

Ned
 
Osslund said:
Fly by wire is a bad solution. My Canon 85/1.2 II is the only fly by wire lens that feels okay. All the rest I've tried feels bad.
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The lens ok for the price, fairly sharp focus with hard stops and the de clicked aperture ring is nice. The negatives are the focal range of the lens which is pretty much hopeless for run and gun documentary shooting and the manual zoom is too slow for snap zooms.

As soon as Sony release an 18-130 or even re house the 18-105 with an aperture ring my 28-130 will be on ebay. I love the fs7 but I miss my 4.5 mm fujinon wide angle zoom on my 2/3 inch camera. It's a real gotcha for anyone coming from eng cameras. Swapping lenses isn't always possible out in dusty or salty environments so you need a general purpose lens which I really dont think the 28-130 is for the fs7.
 
+1

I like the lens for what it does. Can't say I'm totally thrilled with it. Sony knows that they need faster and wider. I'll keep the lens for the moment as it is a great interview lens. I believe a fix is in the work for the manual zoom not totally disengaging from the servo.

Ned Soltz
 
morgan_moore said:
It seems that a tool that doesnt do what you want is worth nothing, so on that basis it is hugely overpriced.
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it depends on what you want to do with it. For talking heads and medium range outdoor work it's fine. part of the issue is the result of the super 35 size sensor. That's just physics. No lens is going to get around thaat.

you're looking for something like a nikon 18 - 200 with a speed booster but that's not full frame, it ramps, etc.
 
When end you say fly by wire what does it mean?
is there a delay when pulling focus is the focus pull mechanical and linear or a relayed electronic thing?
im considering getting that lens a all obvious drawbacks taken into consideration only to have real manual focus but without it it's pretty pointless.

Osslund said:
Fly by wire is a bad solution. My Canon 85/1.2 II is the only fly by wire lens that feels okay. All the rest I've tried feels bad.
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icarusfilm said:
But the focus is mechanical?
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I don't know the technical answer to that but I do know that the focus does not feel mechanical. It feels electronic. It doesn't feel like the focus on a B4 zoom. It does have focus end stop ( it doesn't go past infinity like most still photography lenses do. ) The focus has a fly-by-wire feel to it in my experience.
 
Duke M. said:
it depends on what you want to do with it.
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Of course but Im done with buying kit that is 80% there.

In terms of mass and size the physics says you could make an 18-70 or suchlike that was not too expensive, distorted and didnt have plastic shi_tty interface for reasonable money.

Im sticking with my manual 28-85 and speedbooster (total cost $500?) until I see something that I actually want.

SOny just got lost on this lens.. or made it for the A7s or a future fullframe for which I guess it will be very close to perfect!

S
 
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