This is a good discussion. Man I wish Sony had some 2.8 zooms in some of the focal ranges they have the f/4s in.. Seems like they could make APSC/S35 coverage f/2.8 zooms that would be awesome.
I bought this lens recently to breath new life into my 10 year old NEX VG20, a most under-rated camera especially when mated to a Ninja Star Prores recorder. (Did you hear the one about the guy who bought a $5K lens for his $50 camera?) As a retired ENG Pro, this zoom was the obvious choice for me but for the 'very wide end', I use my Zeiss Contax Distagon 21mm on a focal reducer where I see about F/1.9 at the sensor with a 90 degree angle of view and for the 'very long end', I use a rare Tokina 150-500mm full frame constant aperture (f5.6) zoom. These three lenses cover my entire international travel requirements. Oh and BTW, you've made a very nice video!
A "newby" question: given I have a Sony FS 5 which is the largest *prime* wide angle lens I can mount *directly* w/out any adapter of any kind ? Thank you..
I bought the Sony 18-110 when it first came out a few months ago and i'm so very happy I bought it. I use it on my FS7, A7R2, A9 and really I don't see much about this lens at all on RUclips smh, so again great job on that. Not sure why people aren't talking about this lens much because it's a great lens. I studied the Fujinon 18-55 and the 50-135 and in the end went with the Sony but i love the IQ on the Fujinon and still might pick them up just not sure at this point with having the Sony 18-110 it's worth it now. This lens has made my life and workflow so much easier .. Glad you did this review because it's a great lens. Great Job :) PS The A9 AF and beautiful 4k video with the Sony 18-110 is unbelievable and just works great!.
I had to get all three.... the 18-110 is better and wider than the 28-135 and I mainly got that for AF. But I got the Fujinons for quality and handling.... man they are smooth and I have zero regrets getting them. But most importantly... I had been shooting with Canon dslr lenses at work for a couple of years on the FS7 I and I don't see how I can go back to them now :S The sigma lenses fail at that price point. I know someone could live with it, but the breathing on the 50-100 makes it useless, it's really that noticeable.
As someone who's owned both the $599 lens and the $3499 lens, I can say there's no comparison. The controls alone are vastly better. The image quality is in a different league. I returned the $599 lens a week after I bought it. The image quality wasn't there.
I own this lens. While I do like the range I never use the autofocus or powerzoom. I just saw your review on the Fuji 18-55 2.9. That extra stop and the macro function really stands out to me...but then there's a loss of that extra range. Speaking as someone who's used both which one would you stick with? (I do own a 70-200 2.8 Canon still lens as well) Thanks!
Two different use cases. If I were shooting narrative, I’d want the PAIR of T2.9s. Covering events? 18-110. Minimize my out of pocket? If I were satisfied with the IQ of the Canon (I loved mine for stills for many years), I’d just use that for narrative. For those cases where AF is important, I’d swap out the 70-200 for the 18-110.
I've always using the 18-110 on my FS7. Great great lens. But on my new Zhiyun 3S it's a heavy lens. The Zhiyun can handle this weight very well, but my back only for 10 minutes. Now I'm looking for a less weight lens. The Tamron 20 mm I've tried but the steady shot is disabled on the camera setting when using it. Or you have to disable the distortion comp, then the Steady Shot is enabled. But in my opinion the distortion compensation is needed on this lens.
Hugh, great review of this lens, which, like other Sony aps-c lenses, seems to get released without the fanfare or love of their full frame lens Just a quick question. I see you're using an Atomos Assassin with the a6300 in the photo you posted. Are you using it only as a monitor or are you able to record to it, as well. And, if so, is that 4k to 4k? I have the Assassin for my A7S, but never thought of using it for the a6300. Thanks.
VIDJACK Thank YOU. I use it as a monitor only, along with the BM Video Assist 4K. I haven't found a compelling reason given my particular work to use either for recording, and in fact will be talking about this in an upcoming episode.
Also check out the Sony RX10 Mk III. I used it on a trip to Japan. Effective 16 - 1000mm at UHD shooting, clean lens, sharp corner to corner. It rivals what I get out of my FS7, but looks inconspicuous and, carried around my neck all day long, was no burden.
I'm sure the IV is a great camera, but my point was that I found a great little camera which, when equipped with a decent stereo mic like the Tascam TM2X, shoots amazing UHD video with immersive sound, without the downside of hauling around a big shoulder rig like I use for my pro jobs. I didn't have to declare it at customs, and nobody paid any attention to it. I blended in with the tourists and I got some great footage all over Japan. For all the shortcomings, I think it enabled me to get a lot of footage that I would not be allowed to get with the FS7, no matter how much I minimized the rig.
What do you think about this new buzz that everyone are talking about: A new life to the fs5 now when combo'd with atomos shogun enabling prores raw, 4k 120fps burst, etc?
You nailed (like always). Even though it's really tempting, a camera (that already is heavy and not so portable) that need an external recorder limit you even more. That's really important. Oh this awful times...no perfect camera in any segment. I wish I had the funds to buy a c200, I believe it's the more all rounded one.
Are you using the in camera zoom in/out control for that zoom speed? Or a external motor on the zoom gear? I feel the zoom in this lens is either too fast or too slow. Any thoughts?
Carlos Baena I’m using the zoom rocker on the lens itself, and yes, I found it difficult to control.But with this written, I was using it on an a6300. On an FS5 or 7, the experience might be different.
Interesting video and commentary. Personally I still prefer the original 28-135mm f4 lens to the one in your review... the key reason is that the 28-135mm f4 is a full-frame lens that renders superb image quality on my A7RII or as a Super 35 lens on my FS7.
Fair enough. I loved the 28-135 on the FS7 when I tested it, just wished for a wider bottom end. With your two camera set up, I can see why it works beautifully for you. Enjoy!
As of right now I don't own any true Cine lenses. I'm shooting with the Sony GM zooms but wanting to invest in either the Fujinon MK set, Rokinon Xeen primes, or this lens. This lens seems the most convenient but the Fuji's supposedly have the best image quality. The Xeen's seem great but I've always been a bigger fan of the ability to ZOOM and save time swapping lenses!
Thanks for this very informative video! I just bought an Fs5 ii and I’m trying to decide if I should eventually invest in a native e mount all around zoom. I came from a canon 5diii originally and invested early in canon L glass. I bought a metabones adapter when I switched to a Sony a7sii for my video work and the combo has been great optically, but focus pulls and anything “auto” just doesn’t really do the trick in the cinema realm. I’m considering this lens as an all around lens, while keeping my canon/ metabones kit for low light/ prime quality. (I have 24-104 f4, 10-22 Efs, 50 1.2, 24 1.4, 70-200 2.8 so I guess I can just roll with this combo for a while too, especially considering the 24-105 as an “all around” lens). Anyways this Sony lens has me scratching my head!
Santaella Media your story about adapted lens performance is a common lament. As always, the questions are: what can’t you do with what you’ve got that you NEED to do - and what is it worth to you to do it?
Dream And Dream Marketing This is a full frame lens, and at 28mm low down it yields a 42mm FF equivalent field of view on super35/APS-C cameras. I would only use it on a full frame camera.
Three Blind Men and An Elephant Productions - Geez, I cant believe I missed that. Must have had my B&H shopping goggles on. Yes, I’ll be buying the PZ 18-110.
Maybe the Sony 18-110mm isn’t talked about a lot because if it’s used to shoot in dim “available light” situations, it simply doesn’t provide the sensor enough light to expose S-Log 2 or S-Log 3 properly (i.e. without lots of noise), and, at f/4 you’ve given up almost all your creative ability to use a shallow depth of field- one of the main advantages of shooting with a large sensor cinema camera in he first place! Otherwise, a Sony camcorder with it’s built in 20X zoom is way more convenient, and way, way cheaper. Or shoot full frame using the Sony 28-135mm cine zoom- that lens is $1K cheaper, and on a FF camera f/4 will still allow for some selective focus abilities. If you shoot outdoors or in well-lit places all the time, the convenience and quality of the 18-110mm zoom could make it highly valuable option, no question. But again, you’ve still given up the “cinematic” look that (on balance) is achieved at f/2.8 and faster on an S35 size sensor.
Thank you so much for this wonderful video. Very informative. Please tell me if i'm correct - I know the FS7 has clear image zoom. If I get the 18-110, if I utilize the clear image zoom, how much more mm in the tele will I get? Is it 2x? making it 18-220?
Glad to be of help! Short answer: yes and no. 2X in 1080, 1.5X in 4K - but then of course you need to factor in crop (1.5x) if you think in full frame equivalence. Thus: 18-110 with Clear Image Zoom will get you to a full frame equivalent of 110 x 1.5 x 1.5= 247.5mm in 4K but 110 x 1.5 x 2.0 = 330mm equivalent in 1080.
Thanks so much. I'm a bit confused as to why there is a crop factor. I though the 18-110 is designed to work with Super35mm sensors. Does Clear Image Zoom introduce cropping? :(
asafblasberg This lens IS designed specifically for Super35 coverage. But the concept of crop factor (relative to 35mm/digital "full frame") still applies. If you haven't worked with full frame and know only Super35, never mind, it's all good: you'll have the same field of view you're used to. When I or anyone else talks crop factor, we're talking about field of view, not using fewer pixels.
I have the Fs7ii with the 18-110 f4 and I don't have a single complaint about the lens! My problem comes with my second camera being the A7sii and wanting to film interviews. The 18-110 isn't exactly what I want for most of my interviews since it isn't "fast" enough and I am contemplating between getting a 70-200 2.8 with IS. I know Sonys version is more expensive and has the fly by wire focus so I am contemplating the EF version but I can't seem to come to a conclusion.
I've looked at them and they look really solid. Some say that the lenses are almost exactly the same with the Sony GM having a "smoother" background. Do you have a preference or recomendation over one another?
Taylor Bluemel I’m a prime kind of guy, and there are so many things to spend money on. I really like the Sony FE 70-200/4 for that zoom range because it’s lighter and cheaper than the G-Master, pretty darned crispy, at the expense of just one stop. Unless you intend to shoot portraits at 200mm (maybe 135 - that’s actually my favorite portrait focal length) I’d go for the 85. OTOH, if you’re thinking 135, Sigma’s 135/1.8 is fascinating: I’d take a REALLY close look at that in native E mount.
@@3BMEP yes, at about 7:52. I don’t recall noticing it when I first watched it right after this first came out, but did see it when recently rewatching.
Nice to be here! I keep saying this is the year for me to get either an FS5 or FS7 and while I already have the 28-135, I WANT the 18-110. The lack of breathing was really obvious in your long pulls... stuff looked great man!
Ken, I've seen enough of your work to know you're smart, entertaining, occasionally annoying, often dogmatic. I guess there are folks who'd say the same about me (or worse). I'd ask that you limit your comments here to those that are constructive -- or at least less dogmatic. Yours is not the sole perspective on rational justification, but that's OK.
Yes i was stunned but to be honest, for me it was too perfect, to sharp, to videoish. for me it´s a great image a really great image but it´s too unforgiving if you know what i mean? maybe im wrong but this is a great image for Documentary or Promotionals or Industry Films. or am i wrong? maybe 24p would tame the look? but impressive anyway! good work. maybe it´s just a matter of taste as allways. i am reasearching for the Communications Department of the Highschool i am working for. as for now, i tend to buy the Sony a7/r II for hybrid work (full sensor and 40mp for Photos and good videoquality too) and as main Videocam maybe Ursa Mini Pro or the new Panasonic EVA 1. Our Department is allways demanding this "filmic" look. I know that there´s more than the cam to achieve this look but maybe the A6300 would give me a hard time to get over this merciless, unforgiving and too realistic look . if im talking BS just ignore iT :-)
CALO65 Here's the thing about sharpness: you can always tone it down in post (or just turn it down in the camera itself). If you're going to be shooting high school productions, however, you don't want a Sony hybrid in any case because of the 30 minute recording limit and heat issues. This was shot at 24fps, btw. Let me know what you decide!
i do a lot of Photowork. For Photo an supplemental Video the A7R II should be fine (videoimage quality should be as good as from the A6300 but Photoquality should be much better). We make Imagevideos and therefore the 30min Limitation is no issue.if we record Lessons > 30min we can use a crappy Canon Prosumer Cam or, if better quality is Mandatory we can use the new Videocam. Now we use GH4 for all purposes and that´s ok but not satisfying. we want to step up. i have seen so many reviews may head is exploding. it´s a tough decision between Ursa Mini Pro, Panny EVA1, Sony FS7 II. But the A6300 looks tempting too. as i said im going mad :-)
We bought this lens just over a year ago and it has been in for repair three times. Still waiting on an Answer from Sony. Wish I had gone with the Fujinon. Very disappointed.
I spoke to the tech this morning. He mentioned Sony was supposed to be in touch with me to "discuss options", but still no word. This will be the third time we have to rent glass instead of using what we own! It's quite frustrating.
Three Blind Men and An Elephant Productions yes, you say you can get speedbooster for the zooms. which is cool on mft. but on a fs5 the 18_35 will vignette heavely.
This is a good discussion. Man I wish Sony had some 2.8 zooms in some of the focal ranges they have the f/4s in.. Seems like they could make APSC/S35 coverage f/2.8 zooms that would be awesome.
Agreed!
I bought this lens recently to breath new life into my 10 year old NEX VG20, a most under-rated camera especially when mated to a Ninja Star Prores recorder. (Did you hear the one about the guy who bought a $5K lens for his $50 camera?) As a retired ENG Pro, this zoom was the obvious choice for me but for the 'very wide end', I use my Zeiss Contax Distagon 21mm on a focal reducer where I see about F/1.9 at the sensor with a 90 degree angle of view and for the 'very long end', I use a rare Tokina 150-500mm full frame constant aperture (f5.6) zoom. These three lenses cover my entire international travel requirements. Oh and BTW, you've made a very nice video!
What's the thinking behind super super super to the left composition?
I can not stand it:D
A "newby" question: given I have a Sony FS 5 which is the largest *prime* wide angle lens I can mount *directly* w/out any adapter of any kind ? Thank you..
I bought the Sony 18-110 when it first came out a few months ago and i'm so very happy I bought it. I use it on my FS7, A7R2, A9 and really I don't see much about this lens at all on RUclips smh, so again great job on that. Not sure why people aren't talking about this lens much because it's a great lens. I studied the Fujinon 18-55 and the 50-135 and in the end went with the Sony but i love the IQ on the Fujinon and still might pick them up just not sure at this point with having the Sony 18-110 it's worth it now. This lens has made my life and workflow so much easier .. Glad you did this review because it's a great lens. Great Job :) PS The A9 AF and beautiful 4k video with the Sony 18-110 is unbelievable and just works great!.
I had to get all three.... the 18-110 is better and wider than the 28-135 and I mainly got that for AF. But I got the Fujinons for quality and handling.... man they are smooth and I have zero regrets getting them.
But most importantly... I had been shooting with Canon dslr lenses at work for a couple of years on the FS7 I and I don't see how I can go back to them now :S
The sigma lenses fail at that price point. I know someone could live with it, but the breathing on the 50-100 makes it useless, it's really that noticeable.
As someone who's owned both the $599 lens and the $3499 lens, I can say there's no comparison. The controls alone are vastly better. The image quality is in a different league. I returned the $599 lens a week after I bought it. The image quality wasn't there.
basspig Yep.
I own this lens. While I do like the range I never use the autofocus or powerzoom. I just saw your review on the Fuji 18-55 2.9. That extra stop and the macro function really stands out to me...but then there's a loss of that extra range. Speaking as someone who's used both which one would you stick with? (I do own a 70-200 2.8 Canon still lens as well)
Thanks!
Two different use cases. If I were shooting narrative, I’d want the PAIR of T2.9s. Covering events? 18-110. Minimize my out of pocket? If I were satisfied with the IQ of the Canon (I loved mine for stills for many years), I’d just use that for narrative. For those cases where AF is important, I’d swap out the 70-200 for the 18-110.
I've always using the 18-110 on my FS7. Great great lens. But on my new Zhiyun 3S it's a heavy lens. The Zhiyun can handle this weight very well, but my back only for 10 minutes. Now I'm looking for a less weight lens. The Tamron 20 mm I've tried but the steady shot is disabled on the camera setting when using it. Or you have to disable the distortion comp, then the Steady Shot is enabled. But in my opinion the distortion compensation is needed on this lens.
Abolutely agree, i havnt moved away 18-110 from my fs7 long time ..
Hugh, great review of this lens, which, like other Sony aps-c lenses, seems to get released without the fanfare or love of their full frame lens Just a quick question. I see you're using an Atomos Assassin with the a6300 in the photo you posted. Are you using it only as a monitor or are you able to record to it, as well. And, if so, is that 4k to 4k? I have the Assassin for my A7S, but never thought of using it for the a6300. Thanks.
VIDJACK Thank YOU. I use it as a monitor only, along with the BM Video Assist 4K. I haven't found a compelling reason given my particular work to use either for recording, and in fact will be talking about this in an upcoming episode.
Also check out the Sony RX10 Mk III. I used it on a trip to Japan. Effective 16 - 1000mm at UHD shooting, clean lens, sharp corner to corner. It rivals what I get out of my FS7, but looks inconspicuous and, carried around my neck all day long, was no burden.
basspig Another “yep,” though see my review on the IV - phase detect AF makes a big difference (to my eye).
I'm sure the IV is a great camera, but my point was that I found a great little camera which, when equipped with a decent stereo mic like the Tascam TM2X, shoots amazing UHD video with immersive sound, without the downside of hauling around a big shoulder rig like I use for my pro jobs. I didn't have to declare it at customs, and nobody paid any attention to it. I blended in with the tourists and I got some great footage all over Japan. For all the shortcomings, I think it enabled me to get a lot of footage that I would not be allowed to get with the FS7, no matter how much I minimized the rig.
Great point! Agreed!
What do you think about this new buzz that everyone are talking about: A new life to the fs5 now when combo'd with atomos shogun enabling prores raw, 4k 120fps burst, etc?
baubergô Not necessary for what we do, but it does bring the FS5 lineup closer to the FS7 lineup - if bulkier.
You nailed (like always). Even though it's really tempting, a camera (that already is heavy and not so portable) that need an external recorder limit you even more. That's really important. Oh this awful times...no perfect camera in any segment. I wish I had the funds to buy a c200, I believe it's the more all rounded one.
Are you using the in camera zoom in/out control for that zoom speed? Or a external motor on the zoom gear? I feel the zoom in this lens is either too fast or too slow. Any thoughts?
Carlos Baena I’m using the zoom rocker on the lens itself, and yes, I found it difficult to control.But with this written, I was using it on an a6300. On an FS5 or 7, the experience might be different.
Interesting video and commentary.
Personally I still prefer the original 28-135mm f4 lens to the one in your review... the key reason is that the 28-135mm f4 is a full-frame lens that renders superb image quality on my A7RII or as a Super 35 lens on my FS7.
Fair enough. I loved the 28-135 on the FS7 when I tested it, just wished for a wider bottom end. With your two camera set up, I can see why it works beautifully for you. Enjoy!
Johnathon Frumdehood where?
As of right now I don't own any true Cine lenses. I'm shooting with the Sony GM zooms but wanting to invest in either the Fujinon MK set, Rokinon Xeen primes, or this lens. This lens seems the most convenient but the Fuji's supposedly have the best image quality. The Xeen's seem great but I've always been a bigger fan of the ability to ZOOM and save time swapping lenses!
Lane McCall As always, I suggest trying both. I'd give the workflow nod to Sony, the IQ nod to the Fujinons. I don't know the Xeens personally. :)
Thanks for this very informative video! I just bought an Fs5 ii and I’m trying to decide if I should eventually invest in a native e mount all around zoom. I came from a canon 5diii originally and invested early in canon L glass. I bought a metabones adapter when I switched to a Sony a7sii for my video work and the combo has been great optically, but focus pulls and anything “auto” just doesn’t really do the trick in the cinema realm. I’m considering this lens as an all around lens, while keeping my canon/ metabones kit for low light/ prime quality. (I have 24-104 f4, 10-22 Efs, 50 1.2, 24 1.4, 70-200 2.8 so I guess I can just roll with this combo for a while too, especially considering the 24-105 as an “all around” lens). Anyways this Sony lens has me scratching my head!
Santaella Media your story about adapted lens performance is a common lament. As always, the questions are: what can’t you do with what you’ve got that you NEED to do - and what is it worth to you to do it?
But how would you match this lens on an FS5 with an a7s on a Helix rig ? I can't see how it would match with anything on a two camera setup.
Any thoughts on the less expensive but still little brother, Sony FE PZ 28-135mm f/4 G OSS Lens?
Dream And Dream Marketing This is a full frame lens, and at 28mm low down it yields a 42mm FF equivalent field of view on super35/APS-C cameras. I would only use it on a full frame camera.
Three Blind Men and An Elephant Productions - Geez, I cant believe I missed that. Must have had my B&H shopping goggles on. Yes, I’ll be buying the PZ 18-110.
Maybe the Sony 18-110mm isn’t talked about a lot because if it’s used to shoot in dim “available light” situations, it simply doesn’t provide the sensor enough light to expose S-Log 2 or S-Log 3 properly (i.e. without lots of noise), and, at f/4 you’ve given up almost all your creative ability to use a shallow depth of field- one of the main advantages of shooting with a large sensor cinema camera in he first place! Otherwise, a Sony camcorder with it’s built in 20X zoom is way more convenient, and way, way cheaper. Or shoot full frame using the Sony 28-135mm cine zoom- that lens is $1K cheaper, and on a FF camera f/4 will still allow for some selective focus abilities.
If you shoot outdoors or in well-lit places all the time, the convenience and quality of the 18-110mm zoom could make it highly valuable option, no question. But again, you’ve still given up the “cinematic” look that (on balance) is achieved at f/2.8 and faster on an S35 size sensor.
Tyler Breeden Fair points - one reason why I also bring primes.
Thank you so much for this wonderful video. Very informative. Please tell me if i'm correct - I know the FS7 has clear image zoom. If I get the 18-110, if I utilize the clear image zoom, how much more mm in the tele will I get? Is it 2x? making it 18-220?
Glad to be of help! Short answer: yes and no. 2X in 1080, 1.5X in 4K - but then of course you need to factor in crop (1.5x) if you think in full frame equivalence. Thus: 18-110 with Clear Image Zoom will get you to a full frame equivalent of 110 x 1.5 x 1.5= 247.5mm in 4K but 110 x 1.5 x 2.0 = 330mm equivalent in 1080.
Thanks so much. I'm a bit confused as to why there is a crop factor. I though the 18-110 is designed to work with Super35mm sensors. Does Clear Image Zoom introduce cropping? :(
asafblasberg This lens IS designed specifically for Super35 coverage. But the concept of crop factor (relative to 35mm/digital "full frame") still applies. If you haven't worked with full frame and know only Super35, never mind, it's all good: you'll have the same field of view you're used to. When I or anyone else talks crop factor, we're talking about field of view, not using fewer pixels.
I have an fs700 and a shogun inferno. no lens. I need to decide on one im hopefully never going to sell. ideas?
What is your opinion on Rokinon Cinema Lenses?
Robby Boyd Have never used them.
Three Blind Men and An Elephant Productions ah okay, was just wondering. I’m a huge fan
I have the Fs7ii with the 18-110 f4 and I don't have a single complaint about the lens! My problem comes with my second camera being the A7sii and wanting to film interviews. The 18-110 isn't exactly what I want for most of my interviews since it isn't "fast" enough and I am contemplating between getting a 70-200 2.8 with IS. I know Sonys version is more expensive and has the fly by wire focus so I am contemplating the EF version but I can't seem to come to a conclusion.
Also, love your content Hugh!
Taylor Bluemel Appreciate the kind words, Taylor. I’d go even faster for interviews - yet lighter, too. What do you think about the FE 85/1.8?
I've looked at them and they look really solid. Some say that the lenses are almost exactly the same with the Sony GM having a "smoother" background. Do you have a preference or recomendation over one another?
Taylor Bluemel I’m a prime kind of guy, and there are so many things to spend money on. I really like the Sony FE 70-200/4 for that zoom range because it’s lighter and cheaper than the G-Master, pretty darned crispy, at the expense of just one stop. Unless you intend to shoot portraits at 200mm (maybe 135 - that’s actually my favorite portrait focal length) I’d go for the 85. OTOH, if you’re thinking 135, Sigma’s 135/1.8 is fascinating: I’d take a REALLY close look at that in native E mount.
Thank you for all of the input cheers!
You can’t use speed booster with the 1.8 Sigma zooms and get a full frame result because the lenses only cover aps-c to start.
You are right. It has been years since I posted this - did I communicate otherwise?
@@3BMEP yes, at about 7:52. I don’t recall noticing it when I first watched it right after this first came out, but did see it when recently rewatching.
Thank you for spotting it!
I just don't understand why he's so far to the edge of frame...
Sometimes I just get bored. :)
nailed it... good points, all. thanks Hugh, pm-r :)
Patrick Murphy-Racey Hey, Patrick! Nice to see you here!
Nice to be here! I keep saying this is the year for me to get either an FS5 or FS7 and while I already have the 28-135, I WANT the 18-110. The lack of breathing was really obvious in your long pulls... stuff looked great man!
Sell off the 28-135! But you'll still have to pony up the difference. :)
Nice Video, good point. But don´t fall off the frame! :-)
Hi. Would this lens and a7iii substitute for a Sony x90"?
You mean Z90? Testing one now.
Canon FD 35-105mm f3.5. is a great value parfocal short telezoom for today's camcorders.
Is this better than the Sony SELP18200 E PZ 18-200mm F3.5-6.3 OSS ?
Sukesh Seelan Yes!
lol
As is I didn't have enough options to ponder about already! You forgot Rokinon Primes.
Back to the car's - what/where is the shop?
Never mind!!! Just saw the ending...
you didnt make your case for rational justification at 6X the price.
Lets see in a year how many pull away from their mounts and thin screw bases.
Ken, I've seen enough of your work to know you're smart, entertaining, occasionally annoying, often dogmatic. I guess there are folks who'd say the same about me (or worse). I'd ask that you limit your comments here to those that are constructive -- or at least less dogmatic. Yours is not the sole perspective on rational justification, but that's OK.
Johnathon Frumdehood Please keep it civil; edit so that it is constructive or delete. Thanks.
you're chill...
Wich Camera´s were used for the Cars?
CALO65 See "MORE INFO": a6300. Great sensor!
Yes i was stunned but to be honest, for me it was too perfect, to sharp, to videoish. for me it´s a great image a really great image but it´s too unforgiving if you know what i mean? maybe im wrong but this is a great image for Documentary or Promotionals or Industry Films. or am i wrong? maybe 24p would tame the look? but impressive anyway! good work. maybe it´s just a matter of taste as allways. i am reasearching for the Communications Department of the Highschool i am working for. as for now, i tend to buy the Sony a7/r II for hybrid work (full sensor and 40mp for Photos and good videoquality too) and as main Videocam maybe Ursa Mini Pro or the new Panasonic EVA 1. Our Department is allways demanding this "filmic" look. I know that there´s more than the cam to achieve this look but maybe the A6300 would give me a hard time to get over this merciless, unforgiving and too realistic look . if im talking BS just ignore iT :-)
CALO65 Here's the thing about sharpness: you can always tone it down in post (or just turn it down in the camera itself). If you're going to be shooting high school productions, however, you don't want a Sony hybrid in any case because of the 30 minute recording limit and heat issues. This was shot at 24fps, btw. Let me know what you decide!
i do a lot of Photowork. For Photo an supplemental Video the A7R II should be fine (videoimage quality should be as good as from the A6300 but Photoquality should be much better). We make Imagevideos and therefore the 30min Limitation is no issue.if we record Lessons > 30min we can use a crappy Canon Prosumer Cam or, if better quality is Mandatory we can use the new Videocam. Now we use GH4 for all purposes and that´s ok but not satisfying. we want to step up. i have seen so many reviews may head is exploding. it´s a tough decision between Ursa Mini Pro, Panny EVA1, Sony FS7 II. But the A6300 looks tempting too. as i said im going mad :-)
CALO65 I understand. Best of luck!
We bought this lens just over a year ago and it has been in for repair three times. Still waiting on an Answer from Sony. Wish I had gone with the Fujinon. Very disappointed.
Ian Graham So sorry to hear. What has been the problem? The Fujinon MKs are superb.
It's had issues staying sharp at it's widest focal length. Even after zooming in on the furthest point to focus, it's soft once you zoom back out.
Ian Graham What did they tell you? What did they do to rectify it?
I spoke to the tech this morning. He mentioned Sony was supposed to be in touch with me to "discuss options", but still no word. This will be the third time we have to rent glass instead of using what we own! It's quite frustrating.
@ 0:24 Thats a full frame lens not APS-C/S35!
you say about full frame 28-135 f/4 right? that is new 18-110 f/4
It's a super 35 lens. The 28 to 135 is the full frame lens.
ZEISS 21-100mm!
would the 28-135mm PZ be the better choice for the Fullframe of the FX3?
The -Sony FE C 16-35mm T3.1 G E-Mount Lens- is astronomically unattainable for us common folk.
Absolutely.
the sigmas are apsc only - cant use them with a speedbooster on a apsc sensor without vignetting.
Vautksch right now I have a pair of full frame Sigmas with Metabones Speedbooster on the GH5 - no vignetting. Same deal with FS!
Then specifiy. The zooms you are referring to are APSC only
Right now your video is confusing.
LOL sigmas aren't just apsc
I did. See 6:51.
Three Blind Men and An Elephant Productions yes, you say you can get speedbooster for the zooms. which is cool on mft. but on a fs5 the 18_35 will vignette heavely.
Does FS7 mark I come in E mount?
Very informative but I've got to know - do you always talk like this? You seem to be doing an impression of Jeff Goldblum!
This guy talks as if someone is interviewing him, it's a bit off.