Other: Lovely piece shot entirely on the Zeiss 21-100

Not sure these promo vids ever tell the real story.. camera,s too.. except that given, time,art direction,magic hour.,fancy gear (cranes,jibs,gimbals,dollies) ).and very big soft light source ,s.. the product can look really good.. and a very experienced /talented DP thrown in.. although Im sure its a great lens and good value .. Zeiss have some sort of "name" to protect .. unlikely they would come out with some total dog of a lens..
 
if the lens wouldn't shine with the Alexa, the rigging stuff, lighting, the talented DP, gimbal operator, gaffer, producer, location, postproduction it would be a confession of failure for a 10k lens. I am sure other lenses in this biotope will shine too.
Have a look at "The Circle" shot with the same lens. It's nice but doesn't have that gloss
https://www.youtube.com/watch?v=oLID_htzdPI
 
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BarryLichtner said:
...
On an S35 sensor, any lens with a max aperture slower than f/2.8 is (almost) wasting the benefit of the S35 format in the first place. Not to sound like an ass, but when I see the ubiquitous Canon 24-105mm f/4 mounted on the ubiquitous C300, I feel like the owner of that combination can't *really* give two sh**s about what they're doing. Like putting all season tires on a sports car. :lipsrseal
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Nobody really wants to use an f/4 lens... Id say it's the client, a lot of times, that doesn't give two sh!ts, because they're the ones that have probably painted the shooter into the corner that makes it necessary and pretty much their only option and they need something with that focal range to accomplish what they are doing under the circumstances. The 24-105 is fine on a full frame still cam(I ended up liking it way more than I ever thought I would with my first 5DII), but not so much on s35. I've HAD to use it on my C300 and F55. Sometimes the necessity of utility outweighs the 'fun' of absolute performance.

Since buying a 17-120, there has not been a still lens on my 55. And after the CN7 gets back from Abel this week from the eUMS conversion, I doubt I'll ever have to put the 24-105 on my 300 again, either. At least not in 'normal' shooting circumstances.
 
Hi guys...

Has anyone tested yet the new High Speed Sigma Cine Zoom Lenses?

These fast zoom lenses look very promising ... both the 18-35mm T2 and 50-100mm T2 with PL mounts with expected availability anytime soon this year, costing $8000 the set and weighting less than 4 lbs each are really tempting ... Ideally suited for any type of low budget productions ... even with gimbals ... I think they are almost already available with Canon EF and Sony E mounts ...

Any thoughts?

Here are some links...

https://www.youtube.com/watch?v=Nu6_K9YRFjY

https://www.youtube.com/watch?v=-Gc8BU2HMV8

http://www.sigma-global.com/en/cine-lenses/products/high-speed-zoom/
 
The 18-35 is amazing I used to have a Cinemodded 18-35 and it was my goto handheld lens. The 50-100 is opticaly superb but breaths like a mother even people who think they don't care about breathing are disturbed. In my opinion if you want a sub t2,9 zoom that's super sharp and don't mind the short range look no further, if you must have the 50-100 get it as a photo lens it's not worth spending the extra cash because of the breathing. But these lenses cannot be compared to the Zeiss which covers a huge range of focal lengths I would compare it to the fujinon 20-120 t.3.5 same price roughly same range slightly different aperture and weight.
 
Clermond said:
if the lens wouldn't shine with the Alexa, the rigging stuff, lighting, the talented DP, gimbal operator, gaffer, producer, location, postproduction it would be a confession of failure for a 10k lens. I am sure other lenses in this biotope will shine too.
Have a look at "The Circle" shot with the same lens. It's nice but doesn't have that gloss
https://www.youtube.com/watch?v=oLID_htzdPI
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I don't know man, that might be the nicest looking FS7 promo I've ever seen.
 
JPNola said:
Fuji MK- MOD ( minimum object distance ) via macro:

71.12cm at 55mm focal length.

5 cm at 17mm focal length.


______________


Canon 24-105 is 45 cm.
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That's what I'm talking about. With the 24-105 I can get reasonable close at 105mm where as the Fujinon 18-55 has a 71cm near limit at 55mm. Huge different when one tries to get close. Not that the 24-105 has a real macro mode but I can get close enough.
 
To be honest if you'd rather use a cheap stills zoom with all the compromises that comes with that then clearly this is not the lens for you. Likewise if you own or have access to the CZ lenses or above in terms of cine zoom then it might be a bit redundant.

But there is a space where this sits perfectly as an option for those producing content at a budget and production values tier in between one-man-band outfits and larger production houses.
 
I think the Fujinon MK's looks fine (and Zeiss 21-100) and for some they might tick all their boxes but I'm a fast shooter doing so many different angles and framings when I work so to me such a lens would just get in the way. I wish there was a good alternative to the 24-105 because it does have some short comings as well. But it doesn't get in the way at least.

To me a lens near limit is the second thing I look after when choosing lens. Long tele lenses usually have a + 90cm near limit and 50mm and shorter tend to have about the same near limit in cm as their focal length.
 
I think that the lwz has one unique advantage compared to all other sub 20k zooms with similar Preis/weight/range it gives you a t2.9 where it matters in the 21-35mm range
 
CinemaElectronika said:
Hi guys...

Has anyone tested yet the new High Speed Sigma Cine Zoom Lenses?

These fast zoom lenses look very promising ... both the 18-35mm T2 and 50-100mm T2 with PL mounts with expected availability anytime soon this year, costing $8000 the set and weighting less than 4 lbs each are really tempting ... Ideally suited for any type of low budget productions ... even with gimbals ... I think they are almost already available with Canon EF and Sony E mounts ...

Any thoughts?
Click to expand...

One note: while the PL versions of Sigma Cine lenses can be shimmed, the EF, & E, mount versions cannot.
 
Bern...

You are right.

That's why these Sigma High Speed PL zoom lenses with mount adapters may be the most accurate option for Sony E-mount users.

Newsshooter's Dan Chung in his article says ... "The second piece of important information that we have now obtained from Sigma is that the PL mount versions of the 18-35mm and 50-100mm will be shimmable by the user. This is great news for anyone worried about getting the lenses to perform as near to parfocal as possible with their specific camera."

Here's the Link:

http://www.newsshooter.com/2016/11/...scribe-their-new-cine-zooms-as-near-parfocal/
 
Yeah, I know reality begets options that aren't always optimal. I was speaking more to the types that buy Canon's C300, 24-105mm f/4 package and call it good. No one here fits into that category. "Those people" are on Pinstrest, not a camera forum. ;)
 
JPNola said:
I suppose the direct competition with the Zeiss 21-100 are the Angie EZ zooms which can be configured to deliver T2.0. But they are a 2-lens set ala the Fuji MK's. So you have to spend double the price of the Zeiss 21-100mm to acquire a wide focal range.

And is it just me, or does it seem that the look produced by the Angenieux zooms has fallen out of favor in lieu of a more crisp and cooler look like that of the Zeiss glass?
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Angenieux are most likely still the favorite of the lightweight zooms by most DP's. I myself am in the "cool/crisp" camp as my collection of cine zooms is a combination of Arri, Fujinon and Zeiss, which are color matched and fall somewhat into that description. More than anything, the momentary vogue is for older, "imperfect" lenses. I'm bucking the trend!
 
I would love to try the EZ lenses. Shame they have MOD of 0,6m. That should be like a MFD of 0,8m with a ~20cm lens right?
 
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