There's a few things I'm uncertain about: -The price: I get that cinema housings are always more expensive, but the few newest Sigma Art f1.4 I'm aware of (20mm and 24mm) are less than a third of the price of this. -Focus breathing: I thought lenses that are made from the ground up for cine (like this one) are supposed to have 1) aperture ring with focus-pulling teeth, 2) consistent IQ and character across the set, and 3) no focus breathing
@@thesurfacelevelgamer regarding price, cine housings are more expensive to make, and are made in smaller quantities, meaning that the lens will cost more, even using the same optics as photo lenses. Things like a smooth focus ring or a smooth declicked aperture arent as important on photo lenses so they dont generally have them, these do, so that also increases the price. regarding focus breathing, it really depends. Most cine lenses dont breathe much, if at all, but some do and whether or not that is an issue depends on the DP using them. Ones with less breathing generally cost more as they have to have more developed and expensive optics and systems in the lens to correct for that. There are also certain types of lenses, like zooms an anamorphics, that due to their design generally have more breathing, and that is a fairly accepted thing in the industry. Personally, I dont mind lens breathing too much unless it is so severe that you would notice it in smaller focus pulls. Some older anamorphics drive me crazy due to this.
👍 65mm is an interesting focal length for full frame. I don’t have a use case for 50mm on full frame. I’d rather choose 35mm or 65mm for a full frame shot. I’ve never tried a 40mm. 50mm feels a little confused to me on full frame because it’s not wide and it’s not tight, it’s just there in the middle for getting out of a bind when other focal lengths won’t work I suppose. I understand that some directors, Ozu for example, are big fans of the 50mm focal length.
Tell me more about your reasoning behind this? As 50mm replicates the closest fov to the human eye with almost 0 distortion when shooting on ff. As a 35mm behaves on super 35. 50mm on full frame is typically the most “normal” looking glass for realism. Especially for real world drama or thriller
Great video as always. I would be interested to see a comparison with something like the sigma 24-70mm at or around the 65mm compression and compare or even throw in the canon rf 24-70mm on maybe a c70 or Komodo with or without speedbooster and compare the sigma cines. I think I agree with some other comments that I would expect a cine lens to have minimal breathing at the extra price and if Dzo can do it on their zooms I am surprised that a new lens from sigma doesn’t have that nailed especially for a lens that is likely to be showing it’s compression characteristics in the shot. For me these longer lenses become invaluable on over the shoulder shots but in full frame I think it’s interesting whether 65mm is long enough and maybe it’s a nice cu lens for a little closer than a 50mm. I think interior passenger driver shots in cars are often the use case that test a longer focal length eg on a mcu across the front seat of a car and I think a 100mm min 75mm is usually what’s needed. Maybe that’s why the 75mm or 100mm has always been a more popular lens. I think the 100mm is way under valued especially if it’s a macro. For anyone starting out I would unsurprisingly recommend getting the holy trinity of 16-35 24-70 and 70-200 and really find the sweet spot for each then invest in the prime. A great habit is to only zoom to the usual prime marks. For doc work I guess that’s why the 24-70 is still king certainly for super 35 and it would be interesting to know if it’s as popular in full frame. Eitherway thanks for the great content and looking forward to rummaging around the lens bar at bsc. Thx
I was under the impression that the 40mm was also first a cine lens before it was released as an Art photo version. But this might be the first that isn't available as a photo version at all?
I own a set of Sigma Cine Primes, interestingly what I see here is that out-of-focus areas close to the focus plane exhibit a substantial amount of chromatic aberration, which is a little disappointing. It looks to be fairly far off what I consider to be the best performing of the set, the 40mm - and more distracting than the relatively averagely controlled 50mm of the set.
I wish they released a 65mm F1.4 with AF instead of their new 50mm F1.4 that isnt that different from their old one. That 50mm might be the first genuine dissapointment from Sigma.
I have the HSM version, and definitely getting the new 50 DGDN. Way better AF motors , and quite a bit smaller and lighter . Great for interviews, wider A camera shot. I got the DGDN 35mm too recently , also a great lens . They are such nice lenses to just hold in your hand too, just nicer than the Sony GM,s , the 24-70 zooms the right way round too :)
@@robinprobyn1971 I hear you, I love Sigma myself as well. I have actually the chunkiest lenses possible, in that I have the 40mm F1.4 and the 105mm F1.4 both in L mount. I just dont know if the new 50 is enough for me to add that to the list. The optics on the 40mm are unreal, imo the best ever Sigma in terms of Chromatic Abboration, but yeah, similar story with the AF motor being slow. I'll have to consider if the 50 is ever worth it.
I really enjoy using the Sigma glass. Thanks for the update👍
Man thank you guys so much for what you do. This channel has been key for my business making good choices when it comes to buying gear.
I like the idea of a 65mm lens. Would like to see a 65mm for more mirrorless cameras as well.
I use art lenses for photography and they are brilliant, but I find cinema glass fascinating!
The Art lenses where such a turning point for Sigma and if you like the Art lenses you'll love these! Jake
There's a few things I'm uncertain about:
-The price: I get that cinema housings are always more expensive, but the few newest Sigma Art f1.4 I'm aware of (20mm and 24mm) are less than a third of the price of this.
-Focus breathing: I thought lenses that are made from the ground up for cine (like this one) are supposed to have 1) aperture ring with focus-pulling teeth, 2) consistent IQ and character across the set, and 3) no focus breathing
@@thesurfacelevelgamer regarding price, cine housings are more expensive to make, and are made in smaller quantities, meaning that the lens will cost more, even using the same optics as photo lenses. Things like a smooth focus ring or a smooth declicked aperture arent as important on photo lenses so they dont generally have them, these do, so that also increases the price. regarding focus breathing, it really depends. Most cine lenses dont breathe much, if at all, but some do and whether or not that is an issue depends on the DP using them. Ones with less breathing generally cost more as they have to have more developed and expensive optics and systems in the lens to correct for that. There are also certain types of lenses, like zooms an anamorphics, that due to their design generally have more breathing, and that is a fairly accepted thing in the industry.
Personally, I dont mind lens breathing too much unless it is so severe that you would notice it in smaller focus pulls. Some older anamorphics drive me crazy due to this.
👍 65mm is an interesting focal length for full frame. I don’t have a use case for 50mm on full frame. I’d rather choose 35mm or 65mm for a full frame shot. I’ve never tried a 40mm. 50mm feels a little confused to me on full frame because it’s not wide and it’s not tight, it’s just there in the middle for getting out of a bind when other focal lengths won’t work I suppose. I understand that some directors, Ozu for example, are big fans of the 50mm focal length.
Tell me more about your reasoning behind this? As 50mm replicates the closest fov to the human eye with almost 0 distortion when shooting on ff. As a 35mm behaves on super 35. 50mm on full frame is typically the most “normal” looking glass for realism. Especially for real world drama or thriller
Can you do a review of the Irix cine lens?
when was this lense released?
I want to see some APO cine glass from Sigma, if they strive to achieve an APO lens set, their know-how to design other lenses will level up as well.
Great video as always. I would be interested to see a comparison with something like the sigma 24-70mm at or around the 65mm compression and compare or even throw in the canon rf 24-70mm on maybe a c70 or Komodo with or without speedbooster and compare the sigma cines. I think I agree with some other comments that I would expect a cine lens to have minimal breathing at the extra price and if Dzo can do it on their zooms I am surprised that a new lens from sigma doesn’t have that nailed especially for a lens that is likely to be showing it’s compression characteristics in the shot. For me these longer lenses become invaluable on over the shoulder shots but in full frame I think it’s interesting whether 65mm is long enough and maybe it’s a nice cu lens for a little closer than a 50mm. I think interior passenger driver shots in cars are often the use case that test a longer focal length eg on a mcu across the front seat of a car and I think a 100mm min 75mm is usually what’s needed. Maybe that’s why the 75mm or 100mm has always been a more popular lens. I think the 100mm is way under valued especially if it’s a macro. For anyone starting out I would unsurprisingly recommend getting the holy trinity of 16-35 24-70 and 70-200 and really find the sweet spot for each then invest in the prime. A great habit is to only zoom to the usual prime marks. For doc work I guess that’s why the 24-70 is still king certainly for super 35 and it would be interesting to know if it’s as popular in full frame. Eitherway thanks for the great content and looking forward to rummaging around the lens bar at bsc. Thx
How would you describe them against Zeiss Milvus
I was under the impression that the 40mm was also first a cine lens before it was released as an Art photo version. But this might be the first that isn't available as a photo version at all?
Would the image quality go down if I mount one of these FF lenses to an FX30?
loving that smooooooooth music!
@cvp do you support Red or Us?
Hey how come you guys haven’t reviewed the Samyang autofocus cine lenses?
I mainly use 14mm and sometimes 40mm, on mft sensor and tor stills.
Sigma 40mm is the best lens in the set, and the best focal length for a cinematographer. However, 58mm is not enough for a full frame.
I love the 40mm, it really is a great lens! Jake
I own a set of Sigma Cine Primes, interestingly what I see here is that out-of-focus areas close to the focus plane exhibit a substantial amount of chromatic aberration, which is a little disappointing. It looks to be fairly far off what I consider to be the best performing of the set, the 40mm - and more distracting than the relatively averagely controlled 50mm of the set.
thanks!
I have been looking at these for some time now. But I'm scared they are too clean and soulless...
Using the sigma set for commercials, it’s great, but for narrative work I’d be hesitant
I actually love these with heavy filtration! The clean look is a nice starting point!
Paul!
I wish they released a 65mm F1.4 with AF instead of their new 50mm F1.4 that isnt that different from their old one. That 50mm might be the first genuine dissapointment from Sigma.
I have the HSM version, and definitely getting the new 50 DGDN. Way better AF motors , and quite a bit smaller and lighter . Great for interviews, wider A camera shot. I got the DGDN 35mm too recently , also a great lens . They are such nice lenses to just hold in your hand too, just nicer than the Sony GM,s , the 24-70 zooms the right way round too :)
@@robinprobyn1971 I hear you, I love Sigma myself as well. I have actually the chunkiest lenses possible, in that I have the 40mm F1.4 and the 105mm F1.4 both in L mount. I just dont know if the new 50 is enough for me to add that to the list. The optics on the 40mm are unreal, imo the best ever Sigma in terms of Chromatic Abboration, but yeah, similar story with the AF motor being slow. I'll have to consider if the 50 is ever worth it.
nice concise 5mins Thanks CVP.
I have this one, and i am absolutly in love with it.
never like Sigmas look, oversharped and so digitaly clean, without caracter.
Canon sumire is better than sigma, arri, panavison, cooke, ziess supreme
I get your joke
@@rickychang3574 y u burning you're ass...
I think I should tell arri signature & cooke & panavison instead of canon sumire right...