F55: is the red 18-85 a bad choice for documentary shooting with the f55

The interesting thing about that photo of the 24-70 is it is seen next to an 18 prime.

The posh version of my 18 and 35-70 setup.

S
 
Andrew Stone said:
Is the TLS 24-70 the rehoused Nikon 24-70? They floated a price of well over 10 grand for the lens at NAB 2015. Well over. The Nikon 28-70 is parfocal and rectilnlear but the 24-70 gets all barel distorted between 28 to 24. If it's a rental fine but as a purchase, I would look at the ARRI Alura 18-80 or something else.
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The Nikon 24-70mm does show some nasty corner distortion on the wide-end on full frame, but on a S35mm sensor, that distortion is mostly cropped off and barely noticeable.
 
I agree with Peter Mullet - I own the Sony 18 - 252 and also 10 matched Leica primes. Just returned from 16 days in Kenya intending to use the primes as much as possible - but time prevented that from happening, The images from the Sony lens are outstanding - not just good. The back focus hack someone posted on the Sony community site works like a charm, and amazingly the stabilization does also (it didn't work well at all on the F3, likely because of the rolling shutter). With a flat Vocas baseplate, a PAG battery, the OLED finder, and a Kiogrip the rig weighs in at about 18 lbs, very workable. I ditched the shoulder pad as unnecessary. I can shoot for extended periods handheld focusing with my left pinky. As far as build quality on the lens, which Sony told me is made by Canon, mine has survived several weeks in the Amazon and now more in Africa and shows no wear at all. The focus, zoom and diaphragm rings are smooth as silk. I am baffled as to why this lens gets knocked - I've been doing this for a long time and have owned every manner of Cooke, Zeiss and Angenieux zooms and know what a good lens is supposed to look like. It effectively has no competition in either focal range or size, weight, and importantly price. The Red zooms are OK, but are so-so re-housed still lenses with the concurrent compromises. The Sony is a cinema lens built for the FZ cameras. Try one - you might be surprised.
 
Barons,

Is this pretty much the same lens as the FZ 18-200 e mount on the FS7 (minus a little reach) ?.
What was the back focus hack you mentioned ( Don't think mine needs one though on the FS7.
I do agree my 18-200 is pretty good lens.
Minuses:
- the f stop of course - its a 6.3 lens
- fly by wire focusing though its better than the 18-105
 
Hi Barons,

I´m doing a long-term-documentary with my F55 since 2013. Because we are shooting in 4K I didn´t ever think of testing the F3-lens Sony 18 - 252, because the lens seems to be made for a HD-Camera and not for higher resolutions a.f.e. 4K. Do you think the Sony is good enough for 4K?

P.S. I´m also wondering that there are not more zooms available for this camera
 
Hartl said:


P.S. I´m also wondering that there are not more zooms available for this camera
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Huh? The F5(5) can use every PL-mount S35mm zoom ever made (PV mount too), every S16mm zoom ever made, and almost every DSLR zoom ever made... how many more zooms do you need access too?
 
"I would only want a big eng lens like that canon if I literally never took if off the camera."

Thats literally what i do with the CN7.. it does focus pretty close .. 2ft/8" from the sensor..and has macro.. Ive had CC on the F5 the whole time too.. so 17 -240... good tip.. with the F5/55 (maybe Fs7) you can turn the Ret button to Focus Mag in assignable .. very handy for HH work..
 
Hartl said:

P.S. I´m also wondering that there are not more zooms available for this camera
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Pretty much any modern lens should have more than adequate resolution for 4k. DSLR lenses are producing sharp images on sensors as high as 36MP.

Given that the F55 has a Sony FZ mount you should be able to find an adapter for almost any lens under the sun.
I have the P+S Technic universal mount for my F3 and they must have at least a half dozen different options.
 
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