Teddy_Dem
Well-known member
Yes, I am liking these. I had asked if they were making any other mounts but I'm yet to get a response. I would like to see them in E-mount as well as several E-mount cameras have a Super 35 mode.
Yes, I am liking these. I had asked if they were making any other mounts but I'm yet to get a response. I would like to see them in E-mount as well as several E-mount cameras have a Super 35 mode.
Teddy_Dem
Well-known member
Yes, I'm with you on that as far as feeling like 1.33 does not give much of the "anamorphic feel" that people are looking for when they opt for anamorphic lenses. But the 1.8 aperture (on the 35, 50 & 75), the possibility of also adding oval inserts, and the super cheap cost for an anamorphic lens is enticing.
G
Guest
Guest
and most vintage anamorphic 2x’s lenses are pretty flawed wide open. So, nice these modern options are coming out, where wide open they have character, but stopped down to T4 and sharpen up (hopefully?)
Atlas Silver edition is interesting. seems flexible, like it can clean up or go crazy depending how you light and flag. with RGB lights becoming common, the white flare option is more enticing than it used to be, because now the lighting can easily add the color to the flare.
Mitch Gross
Veteran
I would be quite concerned using an anamorphic lens on anything other than a PL mount. Rotational accuracy is critical in anamorphic, as the squeeze & stretch will wreak havoc with the image is out of alignment. And many twist-lock lens mounts allow a slight bit of rotation even after the lens is seated, which is glaringly obvious in anamorphic when pulling focus or otherwise touching the lens.
G
Guest
Guest
very smart
Teddy_Dem
Well-known member
Ah ok. For the Vazen set that doesn't cover FF (the 28, 40, 65mm), they don't seem to offer PL mount, only MFT and RF:
https://vzlens.com/product/vazen-3-lens-set/
G
Guest
Guest
The amount of new cinema lenses continues to grow.
DZO is proving to be quite prolific and is dominating the spherical "lens-scape"
A variety of full frame, and mirrorless anamorphic popping up in a low cost segment.
Atlas made an insanely wide 25mm 2x's, and they are rumored to be making a mirrorless lens soon
There are all kinds of mods, and detuning alterations available
Spherical entries are still popping up from al over. The price point for good spherical cinema glass is below $2K these days. Meanwhile, the high end remains expensive, and in some cases continues to rise. Vintage FF35 glass like Leica and Cooke continues to skyrocket in the vintage markets. But medium format and s35 remains somewhat stable. s16, s8, and 2/3" seems to remain cheap since the death/reduction of those formats.
DZO is proving to be quite prolific and is dominating the spherical "lens-scape"
A variety of full frame, and mirrorless anamorphic popping up in a low cost segment.
Atlas made an insanely wide 25mm 2x's, and they are rumored to be making a mirrorless lens soon
There are all kinds of mods, and detuning alterations available
Spherical entries are still popping up from al over. The price point for good spherical cinema glass is below $2K these days. Meanwhile, the high end remains expensive, and in some cases continues to rise. Vintage FF35 glass like Leica and Cooke continues to skyrocket in the vintage markets. But medium format and s35 remains somewhat stable. s16, s8, and 2/3" seems to remain cheap since the death/reduction of those formats.
Run&Gun
Veteran
Yeah, it’s crazy how in-demand “de-tuned” glass is. ~15 years ago, who would have though that there would be such a huge market that is fetching a pretty premium for older lenses that are soft and with flaws(but built as best as they could be, in their day) that had become almost worthless, for those reasons, and lenses intentionally designed to be soft and with “flaws”.
Outside of a specialty/one-off type shoot, I’d still rather have glass that is as clean and sharp as possible. I just bought the Canon 25-250 at the beginning of October and it is the cleanest, sharpest lens that I have ever owned. Even with the extender engaged, besides having to compensate for the exposure change, there is zero image degradation that I can see. I honestly forget I have it engaged the majority of the time, because there is no in-VF/camera indication like we have with ENG cameras when using the extender on ENG lenses. If I want to, sometimes I’ll throw an 1/8th HBM on in front of a lens, but that’s still pretty rare.
2/3” HD lenses are crazy cheap on the used market(I’ve been tempted many times over the last few years when I see the Fuji HA 23x pop-up for ~1/3rd of its price), but brand new, they are just as expensive as ever and even more so when you go to UHD lenses.
G
Guest
Guest
That is incredible!
ahalpert
Major Contributor
Sounds like you're announcing a horse race
ahalpert
Major Contributor
I sort of feel like it's either or the other. Either you want a clean shot or you want an affected shot. But if you're shooting b-roll and hero shots, you could easily need both types of footage in the same shoot. My sony/sigma/tamron FE lenses, while probably not on par with your fancy ass glass in the coatings department, don't give me enough flare when flare is what I actually want
Run&Gun
Veteran
Both the 17-120 and 25-250 give really nice (and cool) flares when you bang some light down the barrel at the right angles.
Run&Gun
Veteran
Like most other lenses, it’s really just playing the right angles (and controlling/flagging) to get what you do and don’t want with flare, but flare is not a problem and I didn’t mean to infer that these lenses where somehow more susceptible to it. Just that I usually like what I can get.
rob norton
Veteran
Do you charge extra to shoot with the lens or is it glued to your camera and more of a value add while charging the same rate?
I imagine that’d suck buying such a nice lens that you really enjoy but then not getting to use it regularly.
Have you been taking advantage of the extra reach? It must be so fast dialling in looks on multi cam shoots!? As well as providing so many framing options for those interviews where you change focal length in between questions etc.
I imagine that’d suck buying such a nice lens that you really enjoy but then not getting to use it regularly.
Have you been taking advantage of the extra reach? It must be so fast dialling in looks on multi cam shoots!? As well as providing so many framing options for those interviews where you change focal length in between questions etc.
Run&Gun
Veteran
I’ve already gotten a bunch of rentals out of it. The first week I had two separate shoots with friends and clients Amira’s and they each paid me rental on the lens to use it. In the first month, I think I got at least six individual rentals out of it, either for me to shoot with on clients cams or outright rentals. Plus using it on my camera for my shoots or shoots I was brought in on.
Obviously I do want to try to get a little extra for it, but since I usually go out with the 17-120 on my 55(factored in as part of that package and I have raised my package price a bit) this just kind of replaces that for some shoots, and the 17-120 doesn’t go out or get used and there is no deal or negotiations for the 25-250/55 package, whereas there is some wiggle room with the long paid for and less expensive 17-120/55.
The extra reach is very nice(and why I bought it). You would have to go to center punch/s16 mode to get the reach(roughly) out of the 17-120 that you get natively with the 25-250, PLUS you still have the 1.5x extender at your disposal. I used to use center punch all the time with the 17-120 on my F55, but that limits you to HD rez. And all of the football that I was on in October/November, was a 4K acquisition show, so, the 17-120 would not have cut it, just because it didn’t have the reach and I couldn’t go center punch.
Haven’t used it on any traditional interviews yet, but it could be fun. I shot a bunch of big promo stuff with some of my friends recently and I did really have fun with it on that stuff.
rob norton
Veteran
Thanks for the report, that’s great to hear it’s out working so quickly.
G
Guest
Guest
DZO intorduced some interesting full frame zooms
Samyang is upping their game and making "Meistro" Primes and starting a full frame 2x's anamorphic set
Cooke introduce a full frame zoom Varitol, and a full Fram version of the Classic/I lenses.
Samyang is upping their game and making "Meistro" Primes and starting a full frame 2x's anamorphic set
Cooke introduce a full frame zoom Varitol, and a full Fram version of the Classic/I lenses.
ahalpert
Major Contributor
The Samyangs are "Meister" not "Meistro". I haven't looked closely at them, but they could be nice if they follow in the footsteps of the Samyang XP photo lens series. The XP are more expensive than their regular offerings and achieve a more balanced performance with less glaring aberrations while maintaining some of that glossy look IMO. I really like the Samyang look although it's less of a one-size-fits-all than something sharper and more clinical
G
Guest
Guest
Thanks, I see, Master Prime.... Meister Primes. Ha!
Yes, will be interesting how they shake out.