F3: Sony SCL-Z18X140 Servo Zoom Lens for F3/F5/F55 Listed on Ebay - Starting at $4995

I bought one of these second hand and after using it for several real and varied jobs, I think it is a very useful tool.

If this is your only lens, I would suggest a 2/3" camera makes a slightly better ENG style package, however, if an F3/5/55 is your only camera, this lens allows it to behave very much like an ENG style camera.

As Doug suggests, it is a toss up between owning this lens or another camera such as a PMW200 for ENG style work. Personally, I wanted to maintain the flexibility of the F5 across all my work - 10 bit codec, frame rates etc. This lens allows me to do that. Combined with an F5/55 it will also produce better images than a PMW200 but at the expense of size and weight.

As required, I can throw on my primes or rent high end PL glass and I have a fully fledged cinema camera.

I think it is overpriced new but a good used buy. There are enough F3/5/55s out there already to give this lens a decent life span. Optically is is exceptional for the price and the variable T stop isn't very noticeable unless you are making major changes in focal length. I very rarely do that whilst rolling.

In regards the telescoping, I don't use a matte box with this lens so it doesn't present such an issue. However, I wouldn't recommend it for extreme environments. I have no evident of this but it doesn't appear as weather proof as high end 2/3" glass.

Try it and see if you can live with the compromises. I find they are minor in real world shooting. The lens isn't perfect but for a S35 sensor it has no competition.
 
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well, this lens continues to rattle cages doesn't it?.....Quite amazing.

Those of us that have bitten the bullet and bought one do seem to appreciate it's qualities over the perceived drawbacks, those who don't own one tip scorn on it from on high.

As said before, I own one and as long as I have the F3 I will not get rid of it, it's just too damn useful.
The lens has excellent coverage throughout it's range, ( especially in the 24-124 slot ), it's sharp corner to corner at all focal lengths, and it's T stop "deficiencies" have never been a problem for me......I like the bokeh of this lens when I've used it on interview and head shots and have found it to be a "kind" lens in regards to skin tones and texture.......Always a plus with any piece of glass.
The ability of to go "full / partial auto" is very useful, and i say this as a long time committed "cine / film style" shooter who values prime lenses above all others.

Sure it's a "lump" of a lens, but then so would any other lens of anywhere close to it's range be, probably much more so and it's price is cheap as compared to anything else out there that's even close to the focal lengths it offers.

When others say that an EXCam / EX3 or a PMW 200 would be a better option than buying this lens, I have to disagree. The F3/5/55 cameras are different animals altogether than the EXCam range of cameras. The S35 sensors and variations of SLog features alone make a huge difference. I also own a PMW 200, so I can make real comparisons.
 
Hey Peter, I would like to see how you set up your camera when there is plenty of spray about with that lens.
I shoot surfing in big wave locations & thought about the repercussions with the telescoping lens continues in taking back what spray can be picked up when zooming backward & forwards. Thats the only thing that scares me about purchasing thAT lens for my F5.
 
Believe it or not, I'm glad to hear there are happy owners of this lens who are willing to defend it. I've used one before and it certainly wasn't for me, but as I said earlier, different people have different needs and expectations from their gear. Perhaps I am overly negative about this lens, and I'll admit that, but I've had at least two people contact me via email over the last few months (plus conversations with customers at NAB) with buyer's remorse for the reasons I have pointed out. Were those people dumb to buy a lens without first understanding it's limitations? Yes. But one of the purposes of this forum is for some of us to play devil's advocate and point out things that might not be readily apparent to someone kicking the tires. For example when I read customer reviews at places like B&H, I go straight for the negative reviews first because that is where I often find the information that will prevent me from making a dumb decision and buying something that won't do what I need it to do - then I work my way to the positive reviews. I guarantee you that there are people reading this thread who would otherwise not even think about some of the shortcomings of this lens if I hadn't brought them up. Perhaps the lens still meets their needs, or perhaps it does not, but at least they are better informed customers because we took the time to voice our opinions.
 
honestly,
i'd love to have one. it would make my ex-1 obsolete-which i could sell them- and don't feel so sad keeping my f3 ;-) so if anyone gives one away for really cheap let me know ;-))
 
Surf_Shooter said:
Hey Peter, I would like to see how you set up your camera when there is plenty of spray about with that lens.
I shoot surfing in big wave locations & thought about the repercussions with the telescoping lens continues in taking back what spray can be picked up when zooming backward & forwards. Thats the only thing that scares me about purchasing thAT lens for my F5.
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when I am in conditions like that the F3 rig has a lightweight Chrosziel Mattebox and everything is under a rain cover that's taped up as much as possible.
Also you could put a screw in clear or UV round filter on the lens too as extra protection for the front element, ( I don't have the camera with me where I am so I cannot check on that thread / size )......I also tend to use the rear EVF on this kind of rig / shoot albeit whilst cursing the thing much of the time....but for me it's better than trying to use the flip out screen and / or mounting another EVF or monitor......Sorry I can't rig it and show right now, but it's not rocket science....if you don't have a rain cover for the camera / lens you can always make something out of a HD trash bag and camera tape.....done that before in adverse conditions. Not a pretty sight, but it's cheap and works just fine.

** Forgot to mention that the Mattebox would have a UV or ND or clear filter installed which is then camera taped in place.
 
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Doug Jensen said:
I guarantee you that there are people reading this thread who would otherwise not even think about some of the shortcomings of this lens if I hadn't brought them up. Perhaps the lens still meets their needs, or perhaps it does not, but at least they are better informed customers because we took the time to voice our opinions.
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Agreed. I think this thread is a useful read for anyone considering this lens.

I would recommend it but only conditionally, depending on your needs. It fits mine for certain shoots but won't be for everyone.
 
Hell, I'd put a coke bottle on my camera if it got me the shot I needed at any given moment. This lens looks like it would be a handy thing to have when you need it.
 
I've used this lens extensively and find it very useful, very decent optically, and believe that most of the bashing comes from people who don;t own it. The stop loss is a non-issue (in slog anyway) and the lens is sharp throughout the focal length. What do you want for $10K? So there's one on ebay for cheap - should we all sell our zooms? Anyone know of a better 5 lb lens with this performance?
 
After coming from the world of eng cameras I am finding that there are so many gotchas in the world of stills lenses for video, I like to work with a matte box so I'd need a zoom lens that doesn't change physical length, also it would have to be parfocal. I looked at this Sony lens for doco shooting but I think it's not internal zoom? Does a par focal, internal zoom lens that's about 28-100 mm or longer and wider even exist?

I wish I had the budget for a cine lens but for now I think it's Canon lenses with the optitek - if anyone knows of a lens I could use with a matte box I'd be very interested to hear.
 
ryaninoz said:
After coming from the world of eng cameras I am finding that there are so many gotchas in the world of stills lenses for video, I like to work with a matte box so I'd need a zoom lens that doesn't change physical length, also it would have to be parfocal. I looked at this Sony lens for doco shooting but I think it's not internal zoom? Does a par focal, internal zoom lens that's about 28-100 mm or longer and wider even exist?

I wish I had the budget for a cine lens but for now I think it's Canon lenses with the optitek - if anyone knows of a lens I could use with a matte box I'd be very interested to hear.
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Well, there's the Fuji Cabrio 19mm-90mm T2.9 lens if you've got $38,000 to spare. And there are some older 35mm cine zooms sans motor that you can buy between 10k to 25k from various dealers that tend to be T3.0 and pretty heavy.
 
That's the problem, 38 k or vintage glass that weighs a tonne. I am thinking the 24-105 f4 canon would be a good go to lens for doco shoots and then primes for everything else?

I think Tamron now have a short zoom that is parfocal and internal zoom though, wonder if that would work with the optitek if it is ef mount?
 
Viddovation said:
Well, there's the Fuji Cabrio 19mm-90mm T2.9 lens..
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What a great lens. Had one on my F55 body last week for 4k multi-camera live switching test... what a nice piece of glass. Wish I could afford to own one. Which is why, for $4900 to get something that covers 35mm even with all its fault that Sony lens is a steal.
 
starcentral said:
Wow congrats!

(now quickly delete this thread before the winner finds it!)

:cool:
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Heh. Well, conisdering this threat has over 1000 page views, who knows, may have been a reader who decided not to chance the auction.


And considering I qualified for over $3000 in rebates when I bought the lens, I'm actually not coming out too far behind.

And now I can actually afford a tripod head for my F35!
 
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