filmguy123
Veteran
The Zeiss Milvus is also an excellent glass choice that, for some reason, seems often overlooked here.
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Great suggestion... May have to go that route... But am really trying to get there without adapters, de-clicking, etc. To be sure, from what I've seen, imagery of the Zeiss Contax glass, are great.
filmguy123
Veteran
Could the succession of these two posts exemplify this point any better?
digitalinnovations
Well-known member
Totally agree. I'm running a set of the Milvus primes in EF mount (adapting to e-mount via Metabone) and have been very happy with their image quality. They punch well above their price-point.
Could the succession of these two posts exemplify this point any better?
Here is a video that sees the Milvus in a very good light... Thanks filmguy for suggesting/advocating the Milvus line.
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puredrifting
Major Contributor
What is the focus throw like on the Milvus lenses? Is it stupid DSLR short, more cine-like with 200-300 degrees or somewhere in between? Do you hand focus or have a follow focus?
NorBro
Major Contributor
It doesn't matter because they don't have AF for your new C200.
lol, j/k
Those lenses always looked amazing.
I've been trying to find tests with these lenses. Do you like the image? Do they breathe?
Jason R. Johnston
Well-known member
I do like the images.
For clarification, I'm talking about the SLR Magic APO Hyperprine 25/50/85mm T2.1 lenses.
Both photos taken with my EOS 6D. 85mil on the bottom, I believe that the first is the 25mil. Both are most likely at T2.8 since T2.1 is a bit soft. These images have been downsampled from the original 50MP (11K??) raw files and further compressed by the internet and such.
Breathing: I haven't noticed much, but I haven't used them much for motion pictures since I really don't have a camera that'll take them just yet (cough, EVA1, cough). I guess I should look into that. They work on my BMCC, they're just, ya know, really tight on that camera. The 25mil works well on BMCC, though. It's also the smoothest of my lot. The others are stiff. The 85 is REALLY stiff. Not sure if that's just mine, or if they're all like that. I bet they're not. I haven't really tested the lenses, per se. Except, of course, on these photoshoots. They are, in a way, exquisite. They feel nice in the hands, the rings are smooth and have a nice long throw. I have an inexpensive follow focus unit that works just fine with them.
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Thank you for this! If you ever have the opportunity to shoot some very short tests of the breathing I'd be very grateful. I want to get cine lenses for my Varicam LT, but can't make up my mind. I've been considering the Sony Cine Alta lenses, which are very cheap here in Europe, but they breathe a little too much on the wide end, but I like their look apart from that. I haven't made up my mind yet if I should get primes or zoom lenses. I probably have more use of zoom lenses but the ones available that I'm interested in are quite expensive so maybe I'll keep using my photo zooms until someone makes something like the Fujinon MK-series for EF- or PL-mount.
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Jason R. Johnston
Well-known member
Consider this: if you get a good, fast zoom, it's like having a set of prime lenses that never leaves the body. That's why one zoom might be the cost of 3 primes. And there will always be tiers of lens. SLR Magic, Rokinon Xeen, Veydra, all seem to be on one tier, lower than the rest, but quite affordable to own...which is what we're talking about. Owning lenses. On shows with the right budget you can certainly rent Ultra Super Duper ZXpensive lens you want. But for those of us who prefer to buy our own stuff...in the EVA1 bracket, a $5000 lens is a $5000 lens. And stills lenses suck for motion. To be able to invest in a set of exquisite glass? It'll outlast all your cameras and outlive you. For me, the SLR Magic APO lenses were a good match. I got the 50 and thought, this is pretty nice and went in with the rest. As someone whiter than me once said: no ragrets.
puredrifting
Major Contributor
Ha, ha, but what about when I rent the Varicam LT or even EVA1? Believe me, I am not one of those guys who tells clients, "I own this camera, you should rent it from me for this project" when other cameras could be better. Of course, I want to make rental on my stuff but not if it is at the expense of compromising the project, I am a DP way before a camera owner. The other thing to consider is if the EVA1 is so brilliant once it hits that it totally outshines what I have, I can always sell what I have and buy one. I like Canon but don't forget, I have owned seven Panasonic professional cameras as well.
With all the lens talk I think this one might be missed. Any word on the answers to this question Mitch?
To be honest. I'd be OK with two channels on this camera.
That's why I'd prefer a zoom but the ones I've been looking at are even more expensive than some decent complete set of primes, and the other downside is that they're usually heavier than primes like the SLR Magic ones. Decisions...
filmguy123
Veteran
Even as a run'n'gun shooter who often works live events, I still prefer prime lenses - even at a higher cost.
Maybe it's just my eye, but the aesthetic character of prime lenses is something I haven't been able to achieve even with great zoom lenses. Obviously a zoom can look great, and content is king, but the image rendition of a top quality prime is just in a league of it's own.
Regarding the Milvus line, my understanding is that the focus throw is longer and much improved from most still lenses. They were still lenses designed for the videographer. They won't be perfect on throw, and a CinePrime is going to be better, but they perhaps the best option on market to split the difference in terms of both size/weight and cost.
I'm sure they aren't right for everyone, but in terms of EVA1 lens options they are a strong option and something that should be considered when evaluating the camera. It's not just Sigma and Canon for non-Cine lenses! If you're willing to go manual primes they are a great, native EF way to go I would think. It's the lens I'm eyeing for purchase if I do end up springing for the EVA-1.
Maybe it's just my eye, but the aesthetic character of prime lenses is something I haven't been able to achieve even with great zoom lenses. Obviously a zoom can look great, and content is king, but the image rendition of a top quality prime is just in a league of it's own.
Regarding the Milvus line, my understanding is that the focus throw is longer and much improved from most still lenses. They were still lenses designed for the videographer. They won't be perfect on throw, and a CinePrime is going to be better, but they perhaps the best option on market to split the difference in terms of both size/weight and cost.
I'm sure they aren't right for everyone, but in terms of EVA1 lens options they are a strong option and something that should be considered when evaluating the camera. It's not just Sigma and Canon for non-Cine lenses! If you're willing to go manual primes they are a great, native EF way to go I would think. It's the lens I'm eyeing for purchase if I do end up springing for the EVA-1.
Jason R. Johnston
Well-known member
Partially because primes require less optical elements so the image is cleaner. Also, you only deal with the one fov, so the engineers can sweeten it accordingly without the lens needing to be a jack of all trades, as it were. There's something about primes. That's why I lean in that direction. Even with a zoom, i treat it as a prime. I hate zooming. Hate it.
Take a look. See if I missed something. Uggh, they are upside down again. I don't know why it does that.
puredrifting
Major Contributor
Zeiss - Milvus 18-135 T3.5, $4,000.00. Bam!
puredrifting
Major Contributor
Hmm...All I see are input XLRs, that's it. But that side of the camera does look unfinished.
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