FS100: varying lens types or just stick to one mount type?

J

Jeff Kirkland

Member
Hi All,

I've just recently gotten my FS100 and looking through my junk cupboard have managed to find a motley crew of old lenses with varying mounts (Canon EF, FD, Olympus OM, Nikon AIS) and bought some cheap adapters for them. None of them are particularly good lenses so I'm planning to buy some especially for the new camera. Budget-wise, and aesthetically, I plan on getting some older manual lenses.

I see lenses I would buy with various mounts but am wondering if I'm better off choosing a single mount type and sticking with it - or do you all tend to chop and change with various adapters?

It's really just me being indecisive but I'd be interested in what others have chosen to do.

Cheers,
Jeff K
 
That was what I did. I decided on an Nikon MTF adapter and went with a 24-70 and 80-200 2.8 Nikon zoom. Now I can pick up Nikon AIs lenses for a reasonable cost. At this point I would also consider a Metabones adapter with Canon EF lenses.
 
I think if you're prepared to have one adapter per lens, and leave them on the lens, that helps a lot.... I have two Canon FD, one Alpha mount, and one E-mount lens, all with adapters permanently attached, and that works for me. Keeping the adapters off the lens would be a nightmare with constantly juggling different rear caps, etc.

The thing is that E-mount isn't terribly well served by lenses right now, so having some other options is definitely helpful. On the other hand, for wide-angle lenses, a dedicated E-mount lens (which can make use of the short flange distance) will be much more compact than a lens designed for a longer flange distance plus its adapter. I just rented the Zeiss 24mm f1.8 E-mount and tested it against the Canon FD f1.4 L, and the Zeiss is half the size, much lighter, and noticeably better in performance (test report coming!). So a mix of mounts seems to be the way to go.

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The beauty of the e-mount is, that you can adapt about every lens on the planet to it.
There are tons of great vintage glass out there and it would be a pity to skip that, just because of connivance of a single adapter.

I went with Nikon for most of my glass, cause it is one of the most versatile and a lot of fine lenses come with Nikon mount.
But I don't think about it for a second, if I find a great lens, what mount it has, as long as there is an e-mount adapter for it.

my ct2, Frank
 
Adding to what Frank is saying... adapters are so cheap there's no reason to avoid any lens type, unless of course they are completely awful.

And then it boils down to taste and feel. Some may like the look of an EF lens, some a Nikon F lens and someone else something third.
Then you can choose a specific set of lenses because the feel of your movie or production demands it or is complemented by it.

For my self, I would probably hesitate mixing lenses during a single production because they can vary too much in contrast, sharpness and color rendition (unless again ofcourse it's being used for a specific shot that can carry the look of that one lens)...
But in total, I'd love to own a lot of different lenses just because they are so different.
 
legrevedotcom said:
For my self, I would probably hesitate mixing lenses during a single production because they can vary too much in contrast, sharpness and color rendition (unless again ofcourse it's being used for a specific shot that can carry the look of that one lens)...
But in total, I'd love to own a lot of different lenses just because they are so different.
Click to expand...

Good point.

I use the kit lens for corporate looking work but have various Nikon lenses old and new for distinct looks. My fave is a 30 year old 35-135 manual which is wicked.

The look of the lens is baked into the footage and can't be replicated with post production which gives you another creative tool to use to make your work stand out from the next person.
 
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FoleyProductions said:
Curious Nirv..any screen shots from that 35-135 Nikon lens..
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IIRC this was taken with the 35-135. If it was 28-135 it'd rarely come off the camera. I have the newer 28-105 which is sharper but is missing something.

I think the 35-135 while not being fast has a nice bokeh and nice 3Dness to the DOF if that makes any sense. I expect others will have a completely different view which is fine.

p.s. the forum recompression of the image has taken away the fine gradients of the girl's skin tone. I looks much nicer here. The best skin tones I've captured to date.
 
There's a couple of factors at work here.

I'm sorely tempted into getting a couple of long, fast Alpha lenses and the LE-EA2 specifically for autofocus in slomo mode. I still have a Canon stills camera, so expensive zoom lenses should be shared between platforms so I'm committed to EOS via the Metabones. Vintage lenses are 'the new film stock' and can be rewarding as Nirv demonstrates, and some classic FDs wear permanent e-mount adaptors. I've got a couple of lovely Nikkors (including a freaky 10.5 that's all the rage at the moment). I'm also enthused to hear about the E-mount Zeiss. So - whatever floats your boat, that's the bliss of the E-mount.

OTOH, a colleague (with an F3 rather than FS100) has switched exclusively to Nikkor, and will not be switching back. He's very happy with his little clutch of glass, though it cost him a lot to do it.

So, two shooters, who do very similar work, with essentially contrary lens strategies. It's the Lilliputian 'Big Enders' and 'Little Enders' rather than 'right or wrong'.
 
At the rate that new cameras are coming on the market, it makes sense to plan for the future. Right now I'm sticking mostly to Nikon lenses, and buying just a few E-lenses. I may move up to an F3 (or whatever will replace it) and I want lenses that will work for whatever new camera that will be. E-lenses don't transfer well.
--Jim
 
Like other users, I've taken the Nikkors AIS path myself and I just LOVE them. Built quality is top notch, focus is peanut buttery smooth, they are color matched , they are relatively cheap and easy to find used on the web (most of them). And frankly they just look ridiculously great !
 
Joel Pelletier said:
Like other users, I've taken the Nikkors AIS path myself and I just LOVE them. Built quality is top notch, focus is peanut buttery smooth, they are color matched , they are relatively cheap and easy to find used on the web (most of them). And frankly they just look ridiculously great !
Click to expand...

Ssshhh! Don't go telling everyone!

Love the AIS lenses too and they'll hopefully remain a bargain until I've got a full set of primes and zooms...
 
Thanks everyone for the replies. Food for thought. Even though it's the look of the older lenses that attracts me, I hadn't given a lot of thought to having a matched set, so to speak. My lens needs aren't all that great - usually I'm happy with a fast 50mm, something wider, and a medium to long zoom.

I think I may go down the many different mounts path, but at the same time try to build 'matched sets'. (why am I suddenly reminded of collecting trading cards as a kid?)

I already have what I need in EF glass although the zooms are a little slow, so I guess a Metabones adapter is on the cards. I have a Nikon 50mm f/1.8 E-series lens that I quite like so I guess that's as good a place to start as any...

Thanks again.

Cheers,
jeff K
 
Right now I'm shooting with a set of Rokkors - and I'm looking to possibly move to Zeiss C/Y (might be a tad too contrasty for the uber sharp FS) or Leica R (less contrasty and nice transitions from shadows to highlights). I'm also looking at some older Vivitar Series One or Tokina lenses - great zooms that are dirt cheap. Depends on the shoot, but if I use legacy glass I try to stick with it for the entire project just to keep the look the same.
 
When you get Vivtar Series One glass, make sure you get one of the first batch that was still made by Kino Precision (Kiron).
They are amazing film glass and way nicer than the later ones, made by Samjang, Tokina, Cosina and others.

You can google the serial numbers.

Frank
 
During the year and a half that I shot the AF100 I had two Tokina lenses, 11-16 and 16-50 in EF mount. Without the Birger I could only use the wide by presetting it to f/8 for outdoor work.

Now with a Metabones II I am using both f2.8 lenses on the FS700 and couldn't be more surprised and pleased with the results, even though the 16-50 does grow by at least 4cm when you zoom out.

Also have a set of extremely sharp Zeiss C/Y primes that are excellent on the '700, contrast not withstanding, plus 3 or 4 Nikon lenses.

All in all, it's a great match and I have no complaints though the C/Y's do focus opposite from the Nikons. I use the C/Y's more for interviews where I don't have to refocus on the run (no problem) and the Tokina 16-50 focus's as a Nikon even though it's an EF mount (go figure).

Regards,
Scott
 
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