mercer

@BTM_Pix great test, thank you. Hmm... I am at a loss for words. I think it’s safe to say that the Zeiss is better especially with the color tonality of the whites in the shot. But overall, the Zeiss isn’t an obvious, hands down winner. Damn, maybe I need to test the Rokinon/Samyang 50mm. Do you happen to have the 24mm?

That lens is often mentioned in reviews of other 28mm f/2 lenses. It seems the general consensus is it’s a pretty decent lens but for only a little more you can get the Nikkor ai-s which is phenomenal. Either way, it’s a great option for a budget lens. I have the ZF version and not the traditional Contax “Hollywood.” I got it for a good price but it wasn’t cheap by any means. And the only reason I bought it was because it was a Duclos mod. By just using it for a few minutes in the house, I couldn’t say it was leaps and bounds better than the Nikkor 28 or the Zeiss QBM 25mm. But I have a feeling that the Hollywood is a lens that requires a little more than a couple minutes around the house test. Comment of the day! Thanks for proving my suspicions that I am wasting time and money worrying about lenses.

I knew it! Well a Quattro is more likely than a Leica but since I’ve never, intentionally, shot a still since I bought my first DSLR, both probably aren’t the smartest of purchases. Regarding Samyang vs Zeiss... I assume only a sophisticated eye would notice the difference and only a nerd would care one way or the other. Which leads me to a bigger point... I am probably overthinking this stuff. That 28-70 is such a cool lens. I briefly had one last year but bought it for such a great price, I decided to make a little extra cash on it. Part of me thinks I would probably be better off selling a bunch of things and getting a Canon 24-70mm and the 50mm 1.2 L for a two lens set and be done with it. But... There are just so many lenses that are mechanical and optical works of art... the Nikkor 35mm 1.4... or the Zeiss 28mm f/2 “The Hollywood” to resign myself to just two lenses. But on the other hand, I’ve always subscribed to the notion that story is king so all of these lenses are truly just to tickle my fancy and could have a minor effect in the end.

Couldn’t agree more. I think I’ve mentioned this before, probably multiple times, but I am the type of shooter that could film an entire movie with a single lens. But then I always worry I should have at least a second longer lens option. Which is another reason why I like fast 50mm lenses for that middle ground. You raise a great point about having different sets, especially if I stick with my gut reaction of having a modern and vintage lens set. I guess as of now, my modern set is my Canon lenses and my vintage is my Zeiss QBM. It’s those damn Zeiss ZF Classics are throwing a wrench into my plans. Another option that was kinda my original plan when I bought my 5D3 was to build a set around one fast prime and then get a zoom to cover the rest of the focal lengths. For instance, I had the Canon 24-70mm f/4 and the 35mm f/2 as my fast prime. Due to some unforeseen life circumstances I had to abandon that idea. But maybe that’s worth revisiting. Anyway, the moral of the story is that I blame you because all of your lens tests got me thinking. So, thanks!

Well now you’re just teasing me with a Leica camera in frame... shot with a Sigma Quattro... you do know I am not talented enough but am stupid enough to buy more gear, right? Seriously, don’t feed an addict. Have some compassion. Haha. Yeah I don’t know either about the Rokinon, but I’m sure the 1.4 variants are cheaper than their T-Stop counterparts. With that being said, I can’t wait to see a comparison... I have a feeling there probably isn’t that much of a difference in IQ.

Yup, I believe in the pamphlet, it specifically states these cameras are for children and male hobbyists with cats on their back.

@kye I’ve done/been doing something similar by listing every lens I own and narrowing down my favorites. I then narrowed down the ones I definitely know I want to keep. Now I am in the testing phase by seeing which lenses are just undeniably better than their counterparts. From their I will take my slate of short films I have planned for the next year and decide which lens/lenses/lens sets will fit the tone/theme/story of each short. From their I hope to narrow down my collection from 15-20 to 5-10... it will be closer to 10... let’s be honest here. You do product photography too... what was that shot on? Also, is that Rokinon 85mm, the same lens as the Cine version?

Yep, it seems like it’s an activity camera more than an action camera. At the right price, they will sell a boatload of these. I may even buy one.

Thats still impressive... you must have some deep shirt pockets.

To add to your earlier point, I’ve found the jump from 24mm to 50mm to feel quite normal and then a jump to 85mm completed a set for me. I can’t see too many instances where I would need anything longer. But I also like the simplicity of a two lens set with a fast 35mm and 85mm. But in all honesty, I know myself, and I would bet money that, short of using a zoom lens, I will rarely, if ever, change a lens/focal length during a scene. So it’s a matter of having a couple different lenses, with different qualities, at similar, or the same, focal lengths. And this is where my choices become difficult... well really... there are just too many nice lenses out there.

Without a doubt, all lenses will be sharper when stopped down, so in most instances a 1.4 will out sharpen an f/2 lens when at f/2. My Variable ND Filter only darkens for 5 stops. In broad daylight, I’ll have to stop down my lens a touch to avoid over exposure. The problem is in lowlight. All of those shots are at dusk and were shot between 800 and 1600 ISO. With ML Raw, I prefer to keep my ISO at 800 or below but will push it to 1600. So, with the Canon FD and Zeiss ZF.2, the half a stop of their 1.4 aperture over the Zeiss Rollei’s 1.8 aperture can make all of the difference. With that being said, the Zeiss Rollei shot was my favorite of the lot. It wasn’t the sharpest but I think it had the best mix of qualities that I personally like. Now I need to get them out in better light so I can draw my final conclusion.

I’m fairly certain I will end up buying, or at least renting, a P4K at some point but I don’t need one yet and I want to wait and see what happens with a few other developments. I spent hours upon hours searching for an HDMI variant of those small EVFs when I had the Micro. If something like that was available, I probably would have kept it. I assume there’s more to it than rewriting it with an HDMI wire and plug though? Yeah, I think I may look for one. I was thinking that 50mm and the older DG 24-70mm 2.8 could be a nice two lens set. I don’t have any zoom lenses anymore. Great captures of... your wife? Without knowing the woman, you’ve really captured her kind eyes. I assume so as well, maybe that lens should be thrown into my 10, or less, lens collection... it could be beneficial while shooting in public. Without a doubt, please do. I bought my first 85mm a couple of months ago and it’s quickly becoming one of my favorite focal lengths. It seems to take the positive attributes of both a 50mm and a 135mm and meld then together. I’ve seen some great prices on that Zeiss 85mm lately as well, but I’ve decided that the Contax variant would be a rabbit hole for me that would force me to spend more and more and more. How big is that 85mm?

Either way it looks great.

@BTM_Pix that looks great in B&W as well... I love how the darkness is trying to engulf the guy. Please post the examples if you test that 7artisans on your P4K. I get the bonus of an external recorder with a screen but I don’t like the added bulk. Regarding my 50mm tests: I’m looking for a fast lens that is undeniably sharp wide open. All of those samples were shot wide open, so it’s not the best of scenarios for the sharpest of images but for me it’s a balancing act of available light while fighting the glow of a wide open aperture. My other concern is having too many options. I have a shit ton of lenses... most of which I need to sell. Of all the lenses I own, I have narrowed down my keepers to 14 or 15, but I really want to cut that in half... I’m too indecisive to have that many options. I’ll constantly second guess myself and wonder if I should have used a different lens, so I may give up on my plan of owning multiple lens sets. I’ll definitely keep the Canon EF lenses because they’re native lenses, I really like them and I’ve already started using them for my film. However, I need to be more discriminating with my other lenses. I think I need another round of 50mm lens tests and I think I may include the older Sigma 50mm 1.4 into the lot and take out the Canon FD... since that lens is a no brainer for what I paid for it. I’ve always wanted to try a Sigma lens and I’ve heard the EX-DG is practically as good as the Art lens and since, some of, one of my favorite ML Raw videos was shot with the Art version, it may make sense to give it a try... But I have a feeling a lot of that video was shot with the Canon 70-200mm f/4 L lens. Anyway, I think I have to decide between wants and needs. I guess the smart play would be to keep the Zeiss Rollei lenses because I paid so little for them and they’re pretty good wide open with a ton of character. And that would give me a set of Canon lenses, a set of vintage Zeiss lenses and then I can keep a couple of single lenses that I really like but aren’t a part of any set. On a side note, have you ever tried the Nikkor ai-s 85mm 1.4? I bought a copy a couple of months ago for a song, but I haven’t had a chance to give it a good try. It’s so big and clunky that it will have to WOW me to keep it, but from I’ve heard about it... it may just do that. But since I already own two other 85mm lenses... it will have it’s work cut out for it. Anyway, sorry to all for the extraordinarily long “life problem” I’m encountering, but with me sometimes it’s easier to talk it out to figure out my best option. So speaking of 85mm lenses and to keep the thread on track, here’s a B&W shot of the Zeiss Rollei 85mm f/2.8 shot wide open...

Hmm, I took it the other way around based on the comments... hahaha.

Yeah that looks great. I’d love to know where he used which camera. I have my guesses from looking at the trailer. I assume the X-T2 was the main camera and the GH5 was the run and gun handheld camera.

One day when I am seriousl about photography, I hope to get a real camera. I’d love a Leica or a Sigma Quattro. I’m keeping my eye on the Z6/Atomos development. I don’t think I’ll completely turn my back on my 5D3, but I must admit that some IBIS and Raw does sound cool. Like you, though, I’d like to see an updated Ninja Star and forego a screen. Have you tried that 7artisans on your P4K? That 12-32mm P4K shot you posted yesterday is some of my favorite stuff from that camera. I love the color of your Leica samples... how did you handle the middle photo... it looks wicked. I really like what 7artisans are doing. If I ever get another M4/3 camera, or my first Fuji, that 35mm 1.2 is on the top of my list.

Holy shamoley, that’s a bobby-dazzler. Christ that looks nice... but I assume there isn’t an EF version?

No winner yet, that was just the first round. I’m going to keep the FD because it was so cheap and it blends in nicely with my 28mm and 85mm EF lenses. It actually fits the gap so nicely, I’m starting to question keeping the 35mm f/2. 50mm lenses have always been a staple for me. In a lot of ways, they’re the only focal length that I feel comfortable having just the one lens without having a set to go with it. So I guess the question will be which Zeiss I like better. And if the ZF wins, is it worth ditching the small set of Rollei Zeiss for an even smaller set of Zeiss Classics... as I only have the 50mm Planar and the 28mm f/2 Distagon... of course... with that lens, what more do you need? I haven’t even tested the 28mm yet. It was a spur of the moment purchase that I got for a great price, so I am afraid if I test it out, I might just like it too much. With that being said, since I really like the Rollei Zeiss 25mm, I’ll probably keep that set and sell the Zeiss Classics. I don’t know... I feel like I need one more fast 50 to help me make an overall choice... any suggestions?

From the same nifty fifty lens test, here are a couple from a Canon FD 50mm 1.4 that was modified to Nikon F and then adapted to EF... lol...

It’s weird, the Zeiss ZF has more wow and it’s almost always there. With the Zeiss Rollei you have to find it, but when you do, it slaps you in the face. Good catch, I hadn’t noticed the shape of the bokeh balls... I’m pretty sure it’s coma but you raise an interesting point... sometimes the flaws in lenses add some character to your image... I’m sure a lot of people would disagree with that, though. Not a hundred percent sold on B&W for my film yet, but for the lens tests I enjoy doing... it’s nice not to eff around with color grading... at least until I get a better monitor.

Here’s a couple frame grabs from a recent 50mm comparison test I did. The first is from the Carl Zeiss 50mm 1.4. It’s the ZF.2 version... And this one is from the Carl Zeiss 50mm 1.8 for Rollei QBM... Different type of shot, so probably not the fairest of comparisons...

I don’t but I probably should. I’m getting more into my dialogue scenes soon, so I may. However, since the metadata screen looks like a slate, it would be so great if they gave you a 3-5 second overlay of that “slate” at the start of every clip and perhaps even a pulse tone.

Good to know, thanks for the update. I am waiting on deciding if I want to give the P4K a test ride until it is readily available to buy but my gut reaction is that this is the ProRes camera for a seamless FCPX workflow. Since I’ve decided to wait a little while to order one, I’ve been a little behind with some of the features. But I recently saw a video where it seems you can set up metadata as if it’s a slate? Does the camera give you a clip of the “slate” at the beginning of your clip as a visual reference, or is it just embedded in the metadata? Otherwise, the menu system seems to be simplistic genius and very intuitive.

Any word if Resolve will still work with DNG files in the Raw Panel? And will the Pocket and Micro lose DNG in a firmware update?