New SEL 16-35 and 28-135 power zoom info!

D

dmitrizigany

Veteran
Info has been leaked:
http://www.sonyalpharumors.com/sr5-...e-mount-lenses-zeiss-16-35mm-costs-1350-euro/

FE 28-135 f4 G OSS
New concept professional movie lens

- High response and operability for professional use
- Power Zoom and triple rings realise rich expressions
- Optical SteadyShot

Will ship in December for €2500.

Putting out out such a serious lens for full frame must mean that other full frame video cameras are coming. Wouldn't make it full frame and more expensive just to work on the A7s.

personally I wish the had made it for S35 and either cheaper or faster.
 
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I kind of wish they would start making faster lenses though rather than just more f4 models. Seems like they have many a-mount f2.8's to pull from, I wish they would bring those over to native e-mount just to avoid having to use adapters which always seem to cause various issues like with auto focus, etc...
 
joker454 said:
I kind of wish they would start making faster lenses though rather than just more f4 models. Seems like they have many a-mount f2.8's to pull from, I wish they would bring those over to native e-mount just to avoid having to use adapters which always seem to cause various issues like with auto focus, etc...
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Me too. Id pay more for an emount 2.8
 
dmitrizigany said:
personally I wish the had made it for S35 and either cheaper or faster.
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Although not inexpensive compared to similar Canon L glass, those "cinema" lenses clearly cater to a different market than lets say Zeiss Compact Zooms or Canon Cinema Zooms.
And focus pulling on 2.8 full frame is sth like a very last resort anyways (not saying that for doc/event shooters even 1.4 sometimes is necessary...).
 
On fullframe 28-135 is nearly perfect for event coverage and working fast.

With FF the DOF at F4 is the same as 2.8 at S35 - so it will have a typical cinema look.

Each addition of a stop can almost double the size and mass of a lens and often quadruple the cost so Id say F4 is the perfect choice in the real world.

S
 
morgan_moore said:
On fullframe 28-135 is nearly perfect for event coverage and working fast.

With FF the DOF at F4 is the same as 2.8 at S35 - so it will have a typical cinema look.

Each addition of a stop can almost double the size and mass of a lens and often quadruple the cost so Id say F4 is the perfect choice in the real world.

S
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Great points.
 
You could combine both using the new speed booster to win 1stop and shot in crop format to avoid rolling shutter problem in some cases
 
benjaminreece said:
Agreed- from what I understand most DPs rarely use past 85MM (I rarely shoot past 50mm) - would rather see a 24-70 2.8 cine - Sigma should use its art series R&D to get into the cinema game :)
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yes, but 85mm on S35 is roughly equal to 135mm on FF, they are catering to the tastes you mention.
 
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The Fujinon 19-90 pZ is widely considered the "perfect" documentary (and many other things) lens on s35, so 28-135 makes a lot of sense on full frame. Fuji's a 2.8, still, it's also $40k.
 
I got so excited to see this, it's the most perfect zooms I've seen for my a7s, but then I saw the price for the 28-135 xD Still and advanced amateur and not for my wallet. The 16-35 was more affordable, but I'm not really a wide angle guy.
 
We do docs and events,with occasional fixed narrative. The 28-135 power zoom, if it is optically good, is the perfect lens for most of what we do. Different rigs around the same lens for different tasks. I am sure that a better cam is coming for the FE lenses, and a good doc lens will transfer nicely.
 
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philiplipetz said:
We do docs and events,with occasional fixed narrative. the 28-135 power zoom, if it is optically good, is the perfect lens for most of what we do. Different rigs around the same lens for different tasks. I am sure that a better cam is coming the FE lenses, and a good doc elms will transfer nicely.
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+1

Just wish they'd release the damn thing - or at lease some sample video. Its a huge chunk of glass so I have high hopes for image quality.
 
benjaminreece said:
Agreed- from what I understand most DPs rarely use past 85MM (I rarely shoot past 50mm)
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When shooting stage performances I do. I think something like 50-200 would be ideal for me for that.
I sold my EA50 along with the 18-200 power zoom and even though it was a bit too slow most of the time, I already miss it. It was great for shooting live performances with really quick face recognition focus. I usually had it in manual focus, with face recognition activated, and when needed hit the "push auto" focus and it homed in on the face.
If the 28-135 will be as good or better at face recognition it will be a great lens for those sort of jobs.
 
You could always shoot in cropped mode and be shooting at 42-212mm with a constant aperture of F4.
Incredible pairing, this and the a7S. Depending on the optics, of course...
 
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