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Ready to Invest in Some Primes


jonpais
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yes the single coated Zeiss Planer 50mm f1.8 in QBM MOUNT flares like a RUSSIAN Helios 58mm but is very sharp

 

A NICE LENS WITH ALOT OF CHARACTER

 

 

there is a guy in China converting these Rollei Planar HFT 50mm f1.8 lenses into new housings making the usable with follow focus , he does m42, Nikon , PL, Canon mounts too

 

http://www.ebay.com/itm/Varies-Mount-HD-Cine-Prime-Movie-Lens-Rollei-HFT-Planar-50mm-f-1-8-50-1-8-/111140422178?pt=Camera_Lenses&hash=item19e07c4222

 

they do look very nice!!!

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I bought a yashica 50mm f2 based on Andy's recommendation still waiting for the adapter. I'm a bit hesitant to buy other focal lengths because the rest are only f2.8 and I have that covered with my 12-35mm zoom. For a prime I want at least f2 or faster. Too bad metabones doesn't come out with a speed booster for these yashicas.

Edit: hmm will this work? I didnt see this when i looked last guess i missed it http://www.metabones.com/products/details/MB_SPCY-m43-BM1

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I guess I am kind of surprised by the lack of love for the SLR Magic and Cosina Nokton u43 primes, since there has been so much hubbub for these lenses in the forums. The consensus seems to be for full frame or APS-C lenses. Is the reason one would choose full frame glass over u43 because of character, speed, price or future-proofing? or all of the above? Maybe I should repeat that I don't have any legacy lenses, the GH3 is my very first digital interchangeable lens camera. It's all well and good to say that this lens or that has insane quality, but I wouldn't mind seeing some examples of work being done with some of the lenses under discussion, to see how they actually perform... It's kind of like reading the "best video settings for GH3" thread (in another forum) without any real-life samples... I guess I'm also a little confused by those who recommend zooms here (since we're discussing primes), not because they are zooms, but because some are automatic (although not after adding an adaptor). Aren't they inferior for manually focussing? Or are they just as good? I didn't specify in my original post, but one of the things I'd like to see is a manual lens that is built like a tank. Quite frankly, I hate the plastic feel of the Panasonic zooms, and if I'm going to invest in some primes, they'd better feel like something I just have to hold every day. I did have the opportunity to play with one of the Nikkor AI or AIS (I'm not sure which) lenses at a shop here the other day; all I know is, it was longer than 50mm and it was an f/2, and it felt absolutely wonderful in my hands; the only problem being, it was too long to go around doing the street stuff I do without any stabilization.

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I guess I am kind of surprised by the lack of love for the SLR Magic and Cosina Nokton u43 primes, since there has been so much hubbub for these lenses in the forums. The consensus seems to be for full frame or APS-C lenses. Is the reason one would choose full frame glass over u43 because of character, speed, price or future-proofing? or all of the above? Maybe I should repeat that I don't have any legacy lenses, the GH3 is my very first digital interchangeable lens camera. It's all well and good to say that this lens or that has insane quality, but I wouldn't mind seeing some examples of work being done with some of the lenses under discussion, to see how they actually perform... It's kind of like reading the "best video settings for GH3" thread (in another forum) without any real-life samples... I guess I'm also a little confused by those who recommend zooms here (since we're discussing primes), not because they are zooms, but because some are automatic (although not after adding an adaptor). Aren't they inferior for manually focussing? Or are they just as good? I didn't specify in my original post, but one of the things I'd like to see is a manual lens that is built like a tank. Quite frankly, I hate the plastic feel of the Panasonic zooms, and if I'm going to invest in some primes, they'd better feel like something I just have to hold every day. I did have the opportunity to play with one of the Nikkor AI or AIS (I'm not sure which) lenses at a shop here the other day; all I know is, it was longer than 50mm and it was an f/2, and it felt absolutely wonderful in my hands; the only problem being, it was too long to go around doing the street stuff I do without any stabilization.

 

 

I own all types of lenses for different uses, depending what look I'm after. 

 

I'll use vintage primes for narrative/music video work, as they are more organic than clinical electronic lenses. 

 

For run 'n' gun or corporate video, I'll use the two Panny zooms, 12-35mm and 35-100mm. I find these too 'electronic' looking for a filmic look. Too sharp as standard. Fantastic lenses though. 

 

MFT is loved for both its small size and ability to adapt pretty much any lens. I personally future proof first, and purchase the odd MFT lens here and there, as they are incredibly useful for certain jobs. 

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@jonpais: I recently made the switch from an APSC Canon DSLR to a MFT camera (GH3). The video results are much better than with my Canon but I'm not sure if I'm ready to invest a ton of money for MFT lenses yet. I can adapt my APSC lenses to the GH3 but not the other way around and as you mentioned, most MFT lenses are very small and plasticky. This is great if you're looking for a small and lightweight system but obviously has some drawbacks, too. I also feel like many people who shoot both stills and videos aren't quite convinced of MFT sensors yet... so that might be another reason why people are hesistant dropping a lot of cash on dedicated MFT lenses. 

 

If money was no object I'd go the same route as Olly P. I haven't decided yet whether I will make a full switch to MFT for both video and stills or not so for now I'll try to purchase prime lenses that I can use both on the GH3 and on my Canon DSLR. I've had some time to play around with the Samyang lenses and the build quality is fantastic, so to me that seems like to best option if you're looking for affordable, future-proof lenses that offer charcater, too. They're built like a tank as well so you should check them out. 

 

If you're looking for an example showcasing the differences between a digital-looking lens and a vintage lens with character, check out this comparison: 

- one lens is the MFT Olympus 12mm f/2.0 and the other one is the MFT SLR Magic 12mm f/1.6. Now both these lenses are native MFT lenses (you can't use them on any larger-sized sensor) but the SLR magic show some of the imperfections that vintage lenses also show. The Olympus delivers a better image (sharper, more detailed, no corner softness etc) but overall the SLR Magic looks better. This is desirable for videos but for stills I'd rather buy the Olympus and add the character digitally if neccessary. 
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yes the single coated Zeiss Planer 50mm f1.8 in QBM MOUNT flares like a RUSSIAN Helios 58mm but is very sharp

 

A NICE LENS WITH ALOT OF CHARACTER

 

 

there is a guy in China converting these Rollei Planar HFT 50mm f1.8 lenses into new housings making the usable with follow focus , he does m42, Nikon , PL, Canon mounts too

 

http://www.ebay.com/itm/Varies-Mount-HD-Cine-Prime-Movie-Lens-Rollei-HFT-Planar-50mm-f-1-8-50-1-8-/111140422178?pt=Camera_Lenses&hash=item19e07c4222

 

they do look very nice!!!

 

 

What version of the Zeiss Contax lenses do you prefer? Is it the AE coating or the MM coating? 

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What version of the Zeiss Contax lenses do you prefer? Is it the AE coating or the MM coating? 

 

both are the same.  T* coatings.  I believe the letter refers to the manufacturing plant?  one is licenced Japanese made, one is german, made by zeiss themselves.

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@jonpais: I recently made the switch from an APSC Canon DSLR to a MFT camera (GH3). The video results are much better than with my Canon but I'm not sure if I'm ready to invest a ton of money for MFT lenses yet. I can adapt my APSC lenses to the GH3 but not the other way around and as you mentioned, most MFT lenses are very small and plasticky. This is great if you're looking for a small and lightweight system but obviously has some drawbacks, too. I also feel like many people who shoot both stills and videos aren't quite convinced of MFT sensors yet... so that might be another reason why people are hesistant dropping a lot of cash on dedicated MFT lenses. 

 

If money was no object I'd go the same route as Olly P. I haven't decided yet whether I will make a full switch to MFT for both video and stills or not so for now I'll try to purchase prime lenses that I can use both on the GH3 and on my Canon DSLR. I've had some time to play around with the Samyang lenses and the build quality is fantastic, so to me that seems like to best option if you're looking for affordable, future-proof lenses that offer charcater, too. They're built like a tank as well so you should check them out. 

 

If you're looking for an example showcasing the differences between a digital-looking lens and a vintage lens with character, check out this comparison: 

- one lens is the MFT Olympus 12mm f/2.0 and the other one is the MFT SLR Magic 12mm f/1.6. Now both these lenses are native MFT lenses (you can't use them on any larger-sized sensor) but the SLR magic show some of the imperfections that vintage lenses also show. The Olympus delivers a better image (sharper, more detailed, no corner softness etc) but overall the SLR Magic looks better. This is desirable for videos but for stills I'd rather buy the Olympus and add the character digitally if neccessary. 

@Mozim Thanks, very nice comparison. Funny, it appears most viewers preferred the Olympus lens for its sharpness and lack of flares, but I liked the SLR Magic. But in my own work though, if subjects aren't spot-on sharp, I hate it! And I am thinking my own Panny 12-35mm suffers from strong flare even under soft daylight. It's been driving me crazy. On the other hand, video shot with the 35-100mm always looks beautiful. 

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Fujinon make some great prime lenses

 

their 55mm F1.8 is a favourite of mine

 

http://www.ebay.co.uk/itm/Fuji-Fujinon-55mm-f-1-8-M42-lens-PLEASE-READ-/321349164589?pt=UK_Lenses_Filters_Lenses&hash=item4ad1e71e2d

 

http://www.ebay.co.uk/itm/FUJI-FUJINON-55mm-1-8-LENS-FAST-PRIME-M42-DIGI-ADAPTABLE-FUJI-PHOTO-LENS-/291100878841?pt=UK_Lenses_Filters_Lenses&hash=item43c6f6e7f9

 

great contrast and colours - it has a cool blue tinge to it and very sharp , f1.8 fast and creamy bokeh

 

and its very cheap too

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Thought this might be interesting... 

 

Apparantly Samyang / Walimex / Rokinon is just about to release three new lenses: 

- 10mm f/2.8 (this has been confirmed already and will start shipping soon)

- 50mm f/1.4 

- 35mm f/1.4 with AF

 

Nothing official yet but there will be an announcement tomorrow according to their FB page. 

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yes I have been posting about Zeiss C/Y lenses on here for along time now - and the good thing is that the Yashica ML line is optically practically identical to the Zeiss lenses and alot cheaper - they are both made in the same factory in Japan.

 

The Zeiss Vario Sonar 28-70mm in C/Y mount is a stunning lens I use alot - everyone with a Micro 4/3 camera should have theis lens - its that good!!!

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yes I have been posting about Zeiss C/Y lenses on here for along time now - and the good thing is that the Yashica ML line is optically practically identical to the Zeiss lenses and alot cheaper - they are both made in the same factory in Japan.

 

The Zeiss Vario Sonar 28-70mm in C/Y mount is a stunning lens I use alot - everyone with a Micro 4/3 camera should have theis lens - its that good!!!

 

 

Heard a lot from people banging on about the 35-70mm too. What is your Yashica prized possession? 

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The 35-70mm Vario Sonar is a great lens - FOR STILLS

as it is a PUSH PULL zoom lens so not very good for shooting video

 

the 28-70mm Vario sonar is small light and zooms like a cinema lens .....it is not a push pull lens

 

so it is a much better lens for video

 

my fave Yashicas are

 

24mm ML f2.8 and the

28mm ML f2.8 - cheap and very good

 

50mm ML f2  - very cheap but a great sharp lens

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f3,5 is just great for actors hitting there marks and their faces actually being in focus

 I dont film narative stuff at f1.2 ever !! way too shallow DOF for me.

 

It drops 1 stop in its full zoom , its hardly noticable in reality.

Your shot can alter 1 stop just by moving the camera position on set - so its never an issue.

 

And I use these lenses as variable Primes as they optically out perform most Prime lenses as it has 2 aspheric elements in this lens

it is insanely sharp - it has that Zeiss '3D' pop to it.

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f3,5 is just great for actors hitting there marks and their faces actually being in focus

 I dont film narative stuff at f1.2 ever !! way too shallow DOF for me.

 

It drops 1 stop in its full zoom , its hardly noticable in reality.

Your shot can alter 1 stop just by moving the camera position on set - so its never an issue.

 

And I use these lenses as variable Primes as they optically out perform most Prime lenses as it has 2 aspheric elements in this lens

it is insanely sharp - it has that Zeiss '3D' pop to it.

 

 

You get the benefits of the Speed Booster too, making the lens a stop brighter. Constant aperture is the way to go, although a stop lost isn't much, considering it only changes to f4.5. 

 

Andy is right about the focus thing, have you ever tried focusing anything on a wide aperture? Especially on full frame, its very tricky. Most cinematographers shoot drama scenes at f4 -f5.6 as the widest aperture because of this reason. 

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if you want Constant aperture use the Canon FD 35-105mm f3.5 or the Canon FD L series 24-35mm f3.5 or the steller Fujinon TV zooms Ive been going on about for years.

 

Its all about choosing the right lens for the shot you are doing , if I'm doing Bourne / Hurt Locker type Barry Ackroyd / Paul Greengrass Docu zooms then I use a constant aperture zoom .

 

I use the Zeiss Vario Sonars as Variable Primes not for zommy in and outs

 

the 24-85mm Zeiss Vario sonar is amazing - 3D pop lens.

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