What accessories do I need for my AF100?

S

sharry

Well-known member
I am planning on to buy the Af100. Now I am looking at the accessories to buy with it.

Lens:

I want to buy the Contax Zeiss lens but they are kind of slow. I am a primes guy and with the contax I am getting an average of f2.8. When I look at the nikon ai lens I see that I can get them at f2.0. Now that may not look to different but actually its hell of difference. So which one to go for. The nikons ai or the contax zeiss. I read a few posts here and I am leaning on towards the nikon ai. I am also considering the tokina 11-16. I heard that it does not have an iris ring. Now how would I set the iris? Can the tokina mount on any nikon to m4/3 mount. Can all nikons be mount on any nikon to mft mount.

Adapters:
If going towards the nikon, how about the voigtlander? Advice me if I go the Contax route.

Batteries:
I want to buy an extra battery as I do more of narrative work so I always need batteries. Which one to get for the AF100?

Cards:
How many cards are sufficient for a narrative filmmaker? I was planning for SDHC class 6 16GB*2.

I just read the post where everybody discusses about the no-no ff and mb. I am frankly with those guys. I'll get a manfrotto tripod, senheisser mics, etc? Anything I'm missing out?
 
While it is true that a number of Zeiss Contax C/Y mount lenses are f2.8, there are also some that are f2.0, f1.4, and even f1.2.
For example... In my kit, as well as a number of f2.8 lenses, I also have a 28mm f2.0, 100mm f2.0, 35mm f1.4, 50mm f1.4, 85mm f1.4.

For what it's worth, everybody has their own idea of what lenses suit their needs. Some people have favorite brands, others favor a particular look.
In all honesty, I think you will be gold no matter what brand lenses you purchase.

Good Luck!

Dave
 
Lots of lens and adapter discussions in the forum if you search around.

We use 16GB Class 10 Lexar Pro cards .. you get about three hours out of 2 cards. I think you'll need 3 (preferably 4)
of them to roll and drain if you're doing continuous footage. Test your cards vigorously before shooting.

Batteries .. well .. we got burned by a Lenmar freaking out. So we're returning it for another Panasonic
battery.

For wireless lav, the Senn G3 is very good .. we use them and the Lectro's ... the Lectro's are better .. but the G3 is
more reasonably priced.
 
If you are remotely interested, here is a listing of C/Y mount Zeiss Glass.
Sorry I'll probably forget a few.


Distagon 15mm f3.5
Distagon Fisheye 16mm f2.8
Distagon 18mm f4.0
Distagon 21mm f2.8
Distagon 25mm f2.8
Distagon 28mm f2.0
Distagon 28mm f2.8
Distagon 35mm f1.4
PC-Distagon 35mm f2.8 tilt/shift
Distagon 35mm f2.8
Tessar 45mm f2.8
Planar 50mm f1.4
Planar 50mm f1.7
Planar 55mm f1.2
S-Makro Planar 60mm f2.8
C-Makro Planar 60mm f2.8
Planar 85mm f1.2
Planar 85mm f1.4
Sonnar 85mm f2.8
S-Makro Planar 100mm f4.0 w/bellows
Makro Planar 100mm f2.8
Planar 100mm f2.0
Planar 135mm f2.0
Planar 135mm f2.8
Planar 180mm f2.8
Aposonnar 200mm f2.0
Tele-Tessar 200mm f3.5
Tele-Tessar 300mm f4.0
Tele-Apotessar 300mm f2.8
Vario-Sonnar 40-80mm f3.5
Vario-Sonnar 70-210mm f3.5
Vario-Sonnar 28-85mm f3.3-4.0
Vario-Sonnar 28-70mm f3.5-4.5
Vario-Sonnar 35-70mm f3.4
Vario-Sonnar 35-135mm f3.3-4.5
Vario-Sonnar 80-200mm f4.0
Vario-Sonnar 100-300mm f4.5
Mirotar 500mm f4.5
Mirotar 500mm f8.0
Mirotar 1000mm f5.6
Mutar I 2X
Mutar II 2X
Mutar III 1.4X
 
+1 for Nikon AI Manual Primes, Great mechanical and optical quality, and even better bang for buck! I wrote a bit about them on this thread:
http://www.dvxuser.com/V6/showthrea...I-m-a-bit-green-about-what-else-I-need./page2

In my set I have the:
11-16mm f/2.8
24mm f/2.8
35mm f/1.4
50mm f/1.4
85mm f/1.4
135mm f/2.8

I love my Nikon set, and short of trading up for PL cine-glass, I can't see myself ever getting rid of them. The manual AI Nikkor primes (and the Tokina) really excel for motion use compared to other still glass... oh yea, and you can get a nikon mount for pretty much anything.

on edit: while I love my 24mm as it is a great sharp lens with little distortion, If I had the extra money I would get the 17-35 f/2.8 instead of the 24mm for my nikkor set and use it as a variable prime... but for $1500 less, the 24mm prime and taking a few steps either way works for me.
 
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I do not know what your budget is, but I just procured a Nikkor 24mm f/1.4 AF-S and it is by far the best lens I own -- my arsenal contains a 70-200 f/2.8, 17-35 f/2.8, 35 f/1.4 50 f/1.4. Focus is smooth and well distanced. It is a bit pricey but the images and bokeh renditions are unbelievable!

IMO, it is the best focal length. I've been using my Nikkor 35mm f/1.4 AIS for quite some time and with the 4/3 sensor, it is just a tad bit too close. 24mm made it perfect for me.

Two things I would point out with the 35 f/1.4:

1) There is a LOT of coma at f/1.4. You need to stop down to around f/2.8 to get rid of it
2) There is significant image shifting when pulling focus.
 
woobiee said:
I do not know what your budget is, but I just procured a Nikkor 24mm f/1.4 AF-S and it is by far the best lens I own -- my arsenal contains a 70-200 f/2.8, 17-35 f/2.8, 35 f/1.4 50 f/1.4. Focus is smooth and well distanced. It is a bit pricey but the images and bokeh renditions are unbelievable!

IMO, it is the best focal length. I've been using my Nikkor 35mm f/1.4 AIS for quite some time and with the 4/3 sensor, it is just a tad bit too close. 24mm made it perfect for me.

Two things I would point out with the 35 f/1.4:

1) There is a LOT of coma at f/1.4. You need to stop down to around f/2.8 to get rid of it
2) There is significant image shifting when pulling focus.
Click to expand...
About the 35 f/14....
I dont find those to be major issues, and the second one I am sure is a problem on your copy, not the 35mm f/1.4 in general. I dont have ANY image shift with mine, I had that problem on a copy I checked out with a worn focus mechanism that I sent back. Mine NEVER has any image shift, and it is not an inherent problem with this lens.

Secondly, while there is some isssue with coma on a FF camera with the 1.4, I have never had bad coma with it on m4/3 as you are using the center of the lens which is the sweet spot, and you are shooting 2mp moving images, not 14mp stills blown up to wall size for people to peep at the edges, so what little coma is present is moot IMHO. Also, Coma is an issue that is almost inherent with fast lenses. Pretty much any 1.4 lens is going to have it, even the amazing 24 1.4 has some if you aren't careful.


The 24 1.4 G is a great lens. especially for photography, but for the AF100, i would recommend a pass on it. The ergonomics are not really suited for video use, it has no aperture ring and a focus ring without hard stops, and at $2K, there are are alot of other things that could be bought. I would personally recommend people get the 24f/2 for low light, AND a 17-35mm f2/8 for the rest of the time for the same price as they would only lose a stop. That said, I may be getting a 24/ f1.4 as part of a project for some specific shots, but if I do, I can assure you that I am not going to be the one paying for it, and probably will only be using it wide open as I really like the tack sharp 2.8 for smaller apertures and hate G lenses (what was nikon thinking making such an awesome $2K lens with out an aperature ring...). It looks to be a great lens on papers optically, but for video use, I would be only recommend it if you have extra money and everything else you need. And even then, $2K is an aweful lot for at the end of the day is a fixed prime designed for still photography (although 24mm f/1.4 is an achievment for a wide full frame lens, and I respect that), and for a little more money you would start to be in Red Pro Prime and CP2 territory, and that is where I would start dropping that kind of cash...

That said, since you have it (and it is a beautiful lens, dont get me wrong)... Do you have anything you shot with it? I would love to see some af100 footage with the 24 f/1.4.
 
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If I had the extra money I would get the 17-35 f/2.8 instead of the 24mm for my nikkor set and use it as a variable prime... but for $1500 less, the 24mm prime and taking a few steps either way works for me.
Click to expand...
I have this lens and agree it's amazing.
 
One small noob question and forgive me for it. The Af100 has a native HD 1920*1080 sensor, right? Not what was going on in HVX200. What was that... Yeah pixel shifting.

Thank you everyone for your answers.
 
That's correct .. no pixel shifting .. and a much larger sensor size than the HVX200 (allowing for much
increased depth-of-field). The HVX200 employed a 3CCD sensor whereas the AF100 uses a MOS
technology.

jeff
 
I do have footage but it is more of me testing at a DJ Earworm event. http://vimeo.com/22496760

I've never shot in these highly variable conditions before. For the most part, I have never gone above ISO800.

I do have to say it is the sharpest lens and creates the most pleasantly-rendered images in my bag even at wide open. The flares are controlled very well and when they do show, they are pleasant.

Maybe we are not comparing the same 35 1.4 lens as there are various versions of it? Mine was actually pretty new, bought last year 35mm f/1.4 AIS. But yeah, my copy at least the image shifting is noticeable when doing delicate focus pulls -- its minor otherwise. The coma I do have an issue. It is quite bad on my end and overall not the sharpest (at 1.4 mind you).

Oliver Rush said:
About the 35 f/14....
I dont find those to be major issues, and the second one I am sure is a problem on your copy, not the 35mm f/1.4 in general. I dont have ANY image shift with mine, I had that problem on a copy I checked out with a worn focus mechanism that I sent back. Mine NEVER has any image shift, and it is not an inherent problem with this lens.

Secondly, while there is some isssue with coma on a FF camera with the 1.4, I have never had bad coma with it on m4/3 as you are using the center of the lens which is the sweet spot, and you are shooting 2mp moving images, not 14mp stills blown up to wall size for people to peep at the edges, so what little coma is present is moot IMHO. Also, Coma is an issue that is almost inherent with fast lenses. Pretty much any 1.4 lens is going to have it, even the amazing 24 1.4 has some if you aren't careful.


The 24 1.4 G is a great lens. especially for photography, but for the AF100, i would recommend a pass on it. The ergonomics are not really suited for video use, it has no aperture ring and a focus ring without hard stops, and at $2K, there are are alot of other things that could be bought. I would personally recommend people get the 24f/2 for low light, AND a 17-35mm f2/8 for the rest of the time for the same price as they would only lose a stop. That said, I may be getting a 24/ f1.4 as part of a project for some specific shots, but if I do, I can assure you that I am not going to be the one paying for it, and probably will only be using it wide open as I really like the tack sharp 2.8 for smaller apertures and hate G lenses (what was nikon thinking making such an awesome $2K lens with out an aperature ring...). It looks to be a great lens on papers optically, but for video use, I would be only recommend it if you have extra money and everything else you need. And even then, $2K is an aweful lot for at the end of the day is a fixed prime designed for still photography (although 24mm f/1.4 is an achievment for a wide full frame lens, and I respect that), and for a little more money you would start to be in Red Pro Prime and CP2 territory, and that is where I would start dropping that kind of cash...

That said, since you have it (and it is a beautiful lens, dont get me wrong)... Do you have anything you shot with it? I would love to see some af100 footage with the 24 f/1.4.
Click to expand...
 
sharry said:
One small noob question and forgive me for it. The Af100 has a native HD 1920*1080 sensor, right? Not what was going on in HVX200. What was that... Yeah pixel shifting.

Thank you everyone for your answers.
Click to expand...

No pixel shifting with the AF100... full raster 1080p HD on a large sensor... part of the reason why we love it!


sharry said:
Oliver, how do you set iris on your Tokina 11-16mm?
Click to expand...

I use an adapter that allows me to adjust the iris. Get a good one, I got a cheap one and regret it... and am working an adaptimax plus into a budget very soon.
 
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woobiee said:
I do have footage but it is more of me testing at a DJ Earworm event. http://vimeo.com/22496760

I've never shot in these highly variable conditions before. For the most part, I have never gone above ISO800.

I do have to say it is the sharpest lens and creates the most pleasantly-rendered images in my bag even at wide open. The flares are controlled very well and when they do show, they are pleasant.

Maybe we are not comparing the same 35 1.4 lens as there are various versions of it? Mine was actually pretty new, bought last year 35mm f/1.4 AIS. But yeah, my copy at least the image shifting is noticeable when doing delicate focus pulls -- its minor otherwise. The coma I do have an issue. It is quite bad on my end and overall not the sharpest (at 1.4 mind you).
Click to expand...

I have the AI version, and I have a friend with another AI version, both have NO issue with shifting (tested)... The one I sent back on the other hand was an AIS lens, which had the same issue with shift yours had. Also, while the optics are the same between the AI and AIS, the housing is a lot different between those two models. I would guess the newer AIS housing is possibly more susceptible to this... (basing that purely off of our four samples). That said with the image shift, these are also still lenses and were not designed for video in the first place and were not ment for rack focusing (kinda hard to rack a still image, lol), so for still photos the shift issue is non-existant... for us video people, we kinda have to cherry pick through samples to find the ones that work for us.

As far as Coma, I try to avoid shooting wide open unless I need to, so have never had an issue with coma on it. I try to open up no wider than 2.8 unless needed for light, and usually stay at 4-5.6 most of the time. If you need tack sharp corners and no coma, most fast glass at 1.4 will disappoint you (the 24 is the exception to the rule... that lens is generations newer and is the result of decades years of nikon experience, the 35 has been around almost that long...). Don't get me wrong, I am not trying to defend it and say it is not there, it is... it just is what it is and not a major mark against the 35mm in my book (I would still recommend it with out reservation to anybody, especially in the AI version). The 50 f/1.4 has coma issues as well wide open (and flares easily if you are not careful), still a great lens though. You just learn what it does well and where it is lacking, and work around its strengths.
 
You're probably right, it may just be the mechanics from the AIS version. I do love its buttery-smooth focus though.
 
woobiee said:
You're probably right, it may just be the mechanics from the AIS version. I do love its buttery-smooth focus though.
Click to expand...

You have to try the older AI and n'AI ones... They have almost twice as much of that buttery-smooth focus throw than the AIS lenses. Nikon Lenes really peaked in build quality back in the 70's... optically they have progressed, but there is nothing like the older AI and N'AI lenses in build quality being made today.

Anyway, out of curiosity, how is the breathing on the 24 f/1.4? Did not really notice any in the video... Looks like it performed nicely. What camera and scene file settings were use using in that video?
 
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To my eyes, I see no breathing.

Film Cam
PH 1080p
Detail: -5
V Detail: -5
Coring: +2
Chroma Level: -4
Chroma Phase: 0
Master Ped: 0
Gamma: Cine D
Matrix: Fluo
Skin Tone: Off


Oliver Rush said:
You have to try the older AI and n'AI ones... They have almost twice as much of that buttery-smooth focus throw than the AIS lenses. Nikon Lenes really peaked in build quality back in the 70's... optically they have progressed, but there is nothing like the older AI and N'AI lenses in build quality being made today.

Anyway, out of curiosity, how is the breathing on the 24 f/1.4? Did not really notice any in the video... Looks like it performed nicely. What camera and scene file settings were use using in that video?
Click to expand...
 
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