FS7: FS7 + 28-135mm F4 G OSS = Good for run and gun?

Has anybody thought about getting a wide conversion lens, maybe from Century Optics for the 28-105mm?
 
basspig said:
what about in 4k? That's where you really need the lens correction.
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I can't swear to this as I don't have a 7Q handy. But as I understand it, it does NOT work
in 4k, only in 1080 HD. (The supposed explanation being, that the extra pixels in the 4K chip
mean it can be corrected in HD but not in 4K. Much like the FS 100's HD only chip could NOT
correct for this lens's distortion in that camera because it didn't have enough extra pixels.)

I'm not sure that I really need it in 4K, YOU may, but I have had absolutely zero demand for 4K
so I don't 'need' the lens correction there. Would it be nice to have though? Of course!
That being said, I am not 100% sure on this either. The reason being, is that the 'official'
word from Sony was that this correction would only work in HD and up to 60fps. But surprisingly
enough, I have tested it up to 480fps on the FS700 and the correction still works. So until someone
with the lens and a 7Q can chime in.........
 
The kind of lens correction that would be urgently needed in 4K is for chromatic aberration. All of the 4K videos I have seen so far have horrendous CA in them. It's like they're using SD broadcast lenses on a 4K camera. The CA was 3-4 pixels thick, which is unacceptable. I know we can correct CA in Photoshop, but Premiere doesn't have a filter to do this, so it would need to be done in-camera. A little barrel distortion isn't that noticable on most types of scenes, but CA is everywhere that contrast lives, and it's annoying. When an orchestra player is wearing a black and white tux, I don't want to see blue and red fringes around his lapels!
 
My gut feeling is that if you primarily shoot for yourself as producer than the 18-105 without correction might be fine. I didn't even notice the distortion at first. However if you are a hired gun DP working for other producers and directors, you just can't show them footage that occasionally makes a doorway look like a rabbit hole.

That's what I get a specialty lens for. (Sure I'm exaggerating but I can't have to apologize for my lenses) That's why I'm wary of the Canon 24-105 in 4K also re its CA. Other guys can bring out $30,000 zooms. I don't mind have more trouble with follow focus but I want the images to look just as good - which they pretty much can with DSLR lenses.
 
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The 28-135mm is actually perfect for jobs like sports or event where you usually can't get close to your subject.
what I am really interested to find out is how does the focusing feel? Can focus be repeated easily or pull quickly? Or is it sluggish like the zoom? i know it's sort of an enhanced focus by wire, but I read conflicting review, on newsshooter Matt said it's difficult, but on sony community forum people are ok with the focus, any thought or experience?

Thanks!
 
I've used broadcast series b4 lenses for years and using the Sony 28-135 I don't have any issues with the feel of the focus. To me this lens is a great addition to my kit, I have wider lenses and faster lenses but for most jobs the f4 28-135 is good. Image quality is great, I am tempted to check out the 18-105 as a lightweight travel lens though, I almost bought it but opted for the ziess 16-35 instead and I wonder if I would have been better of getting the 18-105. The 16-35 is a nice lens though and works well with the fs7.
 
If you don't need image stabilization, nor autofocus, nor powered zoom, then I'd say try out the Nikkor 18-200mm on a speedbooster. It's a bit heavy, but not nearly as heavy as a cine zoom and really sharp for a zoom lens of this reach. Its 3.5-5.6, so it might get too slow for some low light conditions, but on a speedbooster that's about 2.5-4.6ish. And my copy retains focus through this incredible range!

i personally prefer the Nikkor look over canon glass or Sony glass, but that's very personal.
 
Interesting - I hada Nikkor 18-200 that was the most un-parfocal lens I can remember. Maybe they've improved it as that was quite a few years ago. Once you get to 5.6 is that f stop consistent throughout the range or does it always ramp?
 
Lenilenapi said:
Interesting - I hada Nikkor 18-200 that was the most un-parfocal lens I can remember. Maybe they've improved it as that was quite a few years ago. Once you get to 5.6 is that f stop consistent throughout the range or does it always ramp?
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I have this lens on my Nikon d7000 and I can tell you it's full of compromises. its soft at the edges and has a certain amount of distortion. The softness at the edges really bothers me at some focal lengths.
 
basspig said:
I have this lens on my Nikon d7000 and I can tell you it's full of compromises. its soft at the edges and has a certain amount of distortion. The softness at the edges really bothers me at some focal lengths.
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Well put. Definitely some compromises there. Not a perfect lens by any means. But I find myself using it often. It barrels at its widest, but by 20mm it's more subtle. Personally, I'm not finding the soft edges to be a big problem. Now, I haven't actually pixel-peeped any charts with this lens, but I'm getting decently sharp images just about most the way out. And around f5.6 it really reigns the softness in for me.

I totally agree that this is not the perfect lens. But for run-n-gun type work where you need range, good manual focus and minimal focus breathing when zooming, in certain scenarios it may be better then a Sony prosumer zoom. Not always, but hey...to each their own :)

Just thought I'd throw it out there since I've found myself using it during outdoor documentary stuff and being pleasantly surprised.
 
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Lenilenapi said:
Interesting - I hada Nikkor 18-200 that was the most un-parfocal lens I can remember. Maybe they've improved it as that was quite a few years ago. Once you get to 5.6 is that f stop consistent throughout the range or does it always ramp?
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Focus is great for me throughout my entire zoom range. And yes, constant above f5.6
 
I got the Sony 18-200 for that purpose -3.5-6.3 so its a similar lens . IS and rocker zoom but fly by wire focusing . Pretty sharp lens for rin & gun doc work.
 
Lenilenapi said:
I got the Sony 18-200 for that purpose -3.5-6.3 so its a similar lens . IS and rocker zoom but fly by wire focusing . Pretty sharp lens for rin & gun doc work.
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How is it working for you. Are you getting the types of images you want from it? It sounds like it's got a lot going for it...with IS and servo
 
I think its fine for its purpose - mainly exteriors all purpose run around lens. I think its pretty good optically
I wanted the tamron 16-300 but it just didn't play nice with the metaboes or the Commlite adapter.
 
I'm looking at Sony zooms... and wondering what's the difference between Sony - FE PZ 28-135mm f/4 G OSS Lens and the lens included with the FS7 kit package? The kit seems to have a lens hood, while the standalone lens for $2498 has a different hood, if it has any at all. The Sony - PXW-FS7 4K XDCAM Super35 Camcorder Kit with 28 to 135mm Zoom Lens shows a similar lens with a nicer lens hood. Why do these two look different?
 
I've been using 28-135mm for the past couple months now and I have to say although the lens is good at times, I still miss the crash zoom abilities on other mechanical lenses. The focus dial is half mechanical (works like Tokina lens where you pull towards you to switch from AF to MF) so it allows me to switch when needed. The range is great for events that have some good amount of space.
if I'm on a red carpet or somewhere tight and need my wife, I switch to Sony 16-70mm f/4. It works like 24-105mm on full frame range, and has no distortion problems like 18-105mm. $1000.00 lens and yes, it gives you less range than 18-105, but I like how small the lens is. No power zoom on the lens, so it's a mechanical zoom, fly by wire focus ring. Fun lens to play with, tiny enough to fit in my camera case without a separate casing.
 
For people needing proper zooms on a small budget, I'd suggest looking at the GL Optics 18-35mm T/2 rehousing, paired with something like the tokina 50-135mm T/3 cine zoom. Covers a lot of range in just two lenses.
 
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