Just buy FULL FRAME lenses and forget about S35 ones. Once Canon will have decent Cinema Set for $5k each i can't see Sony selling well. Just look at Zeiss CP.2 range 15mm - 135mm in Full Frame. And look at their new Full Frame CP Zooms 28-70 and 70-200. Full frame is the way to go. New Dragon Sensor and Canon 1dc are the Tip of an Icberg and expect more Full Frame Cameras next 5 years.
F55: Sony PL lenses - kits?? RANT.
- Thread starter FilmDude
- Start date
Agreed, this is where the growth is.
But there still needs to be a PL option.
I think Zeiss will fare better if Canon doesn't allow for that.
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n21k
Member
Question:
Which will you choose, for a difference of less than 10%-15% between both in terms of pricing, Zeiss CP.2 or Sony Prime, based on the same focal length, 20/25/35/50/85/135? Zeiss 21mm is T2.9 and the rest is T2.1 whereas, Sony are T2 for all the six lenses.
I'm looking for a set of lenses to begin with to work with cameras such as Sony F3, F5, RED Scarlet and Canon C300 (PL mount). Any comments are welcome. Thank you in advance.
Which will you choose, for a difference of less than 10%-15% between both in terms of pricing, Zeiss CP.2 or Sony Prime, based on the same focal length, 20/25/35/50/85/135? Zeiss 21mm is T2.9 and the rest is T2.1 whereas, Sony are T2 for all the six lenses.
I'm looking for a set of lenses to begin with to work with cameras such as Sony F3, F5, RED Scarlet and Canon C300 (PL mount). Any comments are welcome. Thank you in advance.
Grug
Veteran
I've shot a few things on the PL Primes Sony packaged with the F3, and optically, I thought the image from those lenses was really quite nice. Now, how similar will the new lenses be to the old ones optically? Who knows. We'll learn that when they come out.
However I've shot more projects on the CP.2s, and the images they put out constantly receive compliments, they're just lovely pieces of glass.
So until the Sonys actually land, I can't offer any real advice on them, however I can unreservedly recommend the CP.2s.
Viddovation
Veteran
I avoid CP.2 lenses whenever possible because of the mismatched Tstops. It's a wildly inconsistent set, with a T3.6 18mm lens. No thanks. Too frequently do I work under natural light or minimalist lighting conditions, and I don't want to ever have to explain to a Director or Producer that the wide shot is going to be darker or have more gain than the mediums and tights.
bill totolo
Veteran
My personal experience has been with a lot of different PL glass on the F3.
For lower budget productions, I used the Sony PL lenses (let's call them MK1's for this thread) and they were great.
Of course they were big and had a lot of plastic. It seems like the MKII's (my own term, again) have addressed the shortcomings.
So even if they are identical optically, they should be a great lens set, especially for the money.
My new favorite lens is the Fuji 19-90 Cabrio but that's an expensive zoom in a different category.
For lower budget productions, I used the Sony PL lenses (let's call them MK1's for this thread) and they were great.
Of course they were big and had a lot of plastic. It seems like the MKII's (my own term, again) have addressed the shortcomings.
So even if they are identical optically, they should be a great lens set, especially for the money.
My new favorite lens is the Fuji 19-90 Cabrio but that's an expensive zoom in a different category.
n21k
Member
I've used Zeiss CP.2 a few times on a F3 and I like the look and color reproduction. Yes, is a little mismatched in the T*stop, but is just a matter of getting ue to it. I think I will wait till the New Sony Prime Lenses to be officially shipped and hoepfully I can try it on a shoot and decide which to buy.
Thank you for your contributions
Thank you for your contributions
Grug
Veteran
It is certainly inconsistent, that said (down here at least) most rental places seem to have got rid of the 18mm T/3.6 altogether, so most kits tend to comprise of all T/2.1 lenses, with a T/2.9 for the 21mm (and sometimes the 25mm as well). So for the most part you're only a stop slower on your widest lens(es) - which whilst not ideal, is still pretty manageable (on the F3 I just bump up to 6dB of gain when I need that extra stop of light, and tend to get away with it with minimal noise penalties; same thing goes for the C300 - though, of course, the same can't be said for all cameras).
Like anything, you get what you pay for. But for the money, I find the CP.2s hard to beat - with the exception of the slower stop on the widest lenses they're a pleasure to use. They're certainly not Ultra Primes or S4s, but they're still very nice.
legrevedotcom
Veteran
Ok... small rant... I just checked CVP.co.uk again, and why oh why is it that we have to have pay 2000 pounds more for the metre version over the feet version of the new Sony lenses.... that really really sucks!
Btw, if anyone was wondering, the housing is metal on this set.
Btw, if anyone was wondering, the housing is metal on this set.