*** GET THE LENS HERE (Amazon) - geni.us/ICDhaQP *** *** OR HERE (buy direct) - bit.ly/43hm6mm AND GET 5% OFF WITH CODE MARK5 AT CHECKOUT *** *** GREAT PRICE ON THE FX30 - geni.us/fCo6 *** I use these batteries in my FX30, work like the Sony ones, but 25% of the price - geni.us/9pjT
it's funny how now days it seams to be an issue to shoot with a super 35 sensor when super 35 have been the most used format for film making during our history of making film. and where a T stop of 2.8 have been the golden standard for films
For sure, it is worth bearing in mind, these consumers grade cameras, don’t have the high end sensors that the Hollywood cameras do, and do require more light. So the low light aspect does tend to be a bigger deal on this type of camera.
@@markwiemels This is actually not quite true. Check out older high end cinema cameras from Arri, Sony, Red and Canon. They are pretty bad in what we as videographers refer as low light. (Which ist totally fine, they are made for cinema use, not videography.)
I know the lens (7Artisans). But what was your rationale for doing a lengthy review and not saying its name? Are you just trying to force people to click on your affiliate link to find out? If so, that seems like a short sighted strategy.
In my opinion, ISO should be used for light sensitivity and T/F-stop for depth of field, subject sharpness, and creative look. From the perspective of shooting on film, that's how ISO/stops were intended to be utilized. Also, S35 lenses like this one can certainly be used on full-frame cameras - I do it all the time with vintage cinema glass. It of course narrows the field of view but serves as a deliberate creative choice for the project.
Excellent video. This answered so many niche questions I still had about this lens (and probably the other lenses in the set) after I found answers to all the more basic questions myself.
Great lens and I have the four piece 12, 25, 35, 50mm Cinema set but why do you refer to an APSC sensor as a 'crop sensor'? That almost sounds like it is somehow 'less than' a Full Frame sensor. Sure APSC is smaller but the sensors in the FX30, FS5, FS7, Arri Alexa etc, all the world's favourite 'video movie' cameras are actually Super 35 sensors - the same shape & size as traditional Hollywood Super 35 film camera gates. Shooting video on Full Frame sensors (or Visa Vision) has only become a fairly recent phenomenon.
I should do a video on this subject, because it is confusing. A 50mm lens is always a 50mm lens, on a crop sensor camera is has 1.5 crop of the field of view only, everything else remains the same. So yes, the filed of view is more equivalent to 75mm on full frame.
It effectively "becomes 75mm" in the sense that you mean while not technically being the case. I'll explain: You probably know that when a FF lens is put on an APS-C camera, the light is focused as a circle around the sensor but because the sensor is smaller than FF, much of the light is hitting the camera body around the sensor and only the 'cropped' central portion of the light actually hits the sensor giving a cropped image. The reason APS-C lenses are made for APS-C cameras is to focus all of the light onto the APS-C sensor in the same way a FF lens focuses all the light onto a FF sensor. - But why doesn't this create a non-cropped image if the APS-C sensor now receives all the light? It's because to focus light on a smaller sensor area, it must also collect light from a smaller area in front of the camera which we understand from the laws of optics. This is what the field of view is. The lens must collect the light from a cropped field of view in order to focus all the light onto a smaller sensor. So that 50mm lens is taking light from a cropped field of view which would be the equivalent field of view of a 75mm FF lens. - So now why are APS-C lenses useful if there's no way of getting around the crop? It's because there are other benefits to allowing the APS-C sensor to collect all the light. The image quality is better because the light isn't as diffuse as it would be through a FF lens on the APS-C sensor, the aperture is no longer affected by the crop factor like it would be using a FF lens on an APS-C camera and the lenses can generally be built smaller and cheaper.
@@markwiemels I was going to ask about that after viewing this video today. A 50mm on an APSC camera is a little tight for "most" cinematography I would think. As I'm typing this I realize how silly that sounds. Certainly depends on the subject and environment. Just wondered if I had to have one of these three lenses, should it be the 25, 35 or 50. I was thinking 25mm.
I have the 50 and have used it for great shots at 1.4-1.8 in high-light situations (well-lit dance competition floor) on the a6400, with amazing sharpness, clarity, on the subject, and blur/isolation from the crowd. Tons of compliments from people on the footage.
I filmed with my new fx30 yesterday. I was impressed. I used a prime 16mm 1.4 and in some places I did have to adjust the iso but I’m in love with this camera.
although it is true that full frame sensors can produce a thinner/ narrower depth of field. ive never believed that apsc cameras find it hard to get that back ground subject separation. ive been using fuji x system for almost 10 years and ive always been ok with 1.4 or even f2 lenses, and i usuall love wide lenses as well. and i never found it hard to separate background/ make background blur with a 35mm 1.4 or even my 16mm f1.4 from fuji
Really intrigue about these 7artisan Cine lenses. After watching & also reading some of the comments, I'm surprised (but not really), that people went off topics. It's about the lens in most parts. This lens being for crop sensor is really interesting, will be looking for it.
Funny you ask, it was the first time they checked the camera, and looked at the lens. They said I could only bring in lenses under 200mm. This was 50mm, so it was fine.
Thanks for this informative and succinct video!! I’ve purchased this lens to explore on my FX30; any general suggestions for camera settings to use in those lo light settings? I know there are a myriad of factors and related settings but any general starting points would be greatly appreciated.
Manual focus is huge drawback on these lens. Does not suit for point and shoot scenarios . Makes production slower. But on dark conditions can be the lifesaver for someone.
Agree that will be an issue for some. I think that some people shy away from manual focus, but have not tried it, I alway encourage them to get a cheap manual focus lens and at least give it a try. All your favourite Hollywood movies were shot with manual focus.
Fx30 is a professional camera in the cine line of sony. Any cine lens won't have autofocus. If you want af then don't get a cine lens like this because this is what productions actually look for
@@Chris-ey7zy barely cine lenses. They still have focus breathing, don't have an aperture ring The only cine part of it is the consistent size across the line. The teeth for follow focus are useless because actual productions wouldn't use an af lens for follow focus Not many have been using the set since it released btw. The optics are basically for photo lenses so people would rather stick to available photo lens options for autofocus. Otherwise they'd use cine if the budget allows
If we are talking about FX30, then according to Sony this camera body is designed for mobility and comfortable operation. In general mostly for point and shoot scenarios. For cinematography you have to buy at least FX6. Why someone buys FX30? You probably have Sony APS-C gear already, so you can use most of your old gear. It gives kinda budget friendly camera body upgrade for A6 line users. When budget is critical, you cannot afford to buy lenses, which are sitting and waiting for one rare moment. You put your money into gear which covers maximum of use cases. Mobility means that you have max 2 lenses with you, one in front of camera body and another in your backpack for some scenarios, which main lens cannot cover fully. From mobility viewpoint you have to consider how to fit all your gear into one single lightweight backpack. So you cannot carry collection of lenses with you. Low prices doesn’t mean always that you can afford that low price gear, because if you are on low budget , you need actually equipment, which covers as much possible scenarios in long run. I don’t see that this lens solves any actual FX30 flaws. If you really want to film in extremely dark conditions mostly, then you you even don’t consider using or buying FX30. On such cases you are already using another more suitable gear. I suppose author of this video doesn’t live in shoes of most of actual FX30 (low budget) users.
I have the 7artisans 35mm f0.95 wouldn’t that be a better option for low light or is this T1.05 a better option since it is a cinema lens whereas the f0.95 is a photography lens?
I think the vision series of cine lenses might be an upgraded version of those lenses. So they are likely very similar, you would really need ro test them side by side to know which gets more light to the sensor.
I have the 35mm version of this lens and I love it! While manual focus can be a challenge with a little practice I am getting better and find manual focus to be fun and also frustrating. Getting sharp focus at 1.05 is a great challenge but if you can get it at 1.05 you are good at any T Stop. Cheers.
You can DEFINELTY use those 7Artisans Lenses on Full Frame! I do, you get a bit of serious vineting and extreme foreground BOKAH but not as much as other crop-sensor lenes [cause the barrel is so wide. BUT you can ALSO CROP in to 35mm and its fine. Might not be T1.05 but still BOKAH AF, and looks SOO GOOOD
Please recommend a camera! If you were choosing a camera for a video like this - and that's it, no photos, no handheld shooting, nothing else, just a talking head, a great picture with a blurred background and the ability to record for a long time - podcasts, streams, what should I take?
je me suis pris le 35-50 et 85 mm en plein format, pour mon A7Siii j'en suis super content! qualité de construction et détail de limage juste magnifique !!!
*So Would you Say a Cinema Lens work just as well as Normal Lens for Vlogs? Cause I have a Cinema Lens My First which is a SLR Magic 12mm F2.8 and I have used it for Vlogs because I love the Video quality at 4k 60*
Sorry I'm gonna be that guy but I get how the sensor size is a flaw to you in terms of lowlight compared to fullframe sensors, but the inability to produce super shallow depth of field should never be seen as a flaw. The newest arri camera even after releasing their large format sensor, is still a super35 sensor. Same with the red komodo that a ton of solo creators have began using, same with the blackmagic 6k pro, same with the ursa g2 and ursa 12k No one in the commercial or film world complains about it not producing shallow depth of field, heck, a ton of cine lenses are only t2.0 EVEN in apsc/super35. Yet they can produce extremely beautiful images. If you want shallow depth of field then don't buy a super35 sensor camera. It's that simple. Lenses will be a bandaid to that
It’s really just a catchy UA-cam tittle. It’s not intended it to be taken so literally. These videos are made for beginners who are on a budget. The biggest complaint, I see in the fx30 forums, is the high iso and not getting that “full frame look” so that’s what the video is really about, and who it’s for.
@@markwiemels ok that makes sense. The intro of the video might be misleading for beginners (and even intermediate beginners) who have this fullframe mindset. Tons of people think bokeh solves all problems, and forget what lighting and composition is
@@HolgerReher Precisely that. I'm not knocking off shallow depth of field tho, and literally buying an S5 this month and entering the fullframe world. It's just that people resort to the easy solutions and just that. Seen a ton of videos of beginners getting a $100 7artisans 35mm f1.2 and shooting literally everything wide open. Colors, lighting, composition are all off, and the only thing that stands out is the over the top bokeh
I’m always annoyed by the myth that you need a full frame to get shallow depth of field. I have used full frame, s35, 16mm and 35mm film cameras for professional work. I currently use a micro four thirds camera and have no problems controlling my depth of field in drama or documentary work. I think this has become an obsession and a major distraction from more important issues in choosing cameras and lenses.
So many questions. For my fx30 I’m after a macro lens, leaning towards the budget meike60 mm as per your and others video. Locked in. I am awaiting delivery of the sirui 24 mm night Walker. Locked in. Love the look of this faster vision lens. Given the two focal lengths of the lens mentioned above does it make more sense to get the vision 35 mm rather than the 50? Should I just stick with the night walkers for consistency. Would I miss the t1.05 over the night walkers t 1.2?? So many questions. 😂
I have another macro video coming, similar price, 2 x magnification, but much larger. Might be worth waiting for that video, I will likely compare it to the Meike. The 35mm Vision is the best of the set, but if the night walkers give consistent look, and color, across the set (which is not a given, without seeing tests), then I would lean that way. As a single lens, on its own, the 35mm vision is stunning (I have a video on the channel about it - ua-cam.com/video/chaO2gB-gm4/v-deo.html
@@peterquigley2700 ua-cam.com/video/fg-_KNJsKQY/v-deo.html there are two brands selling this lens, I’m told the one I have will be $161, but it’s the same lens with a different name. Not sure what they want for the Pergear one.
I'm confused on what you mean that they don't make full frame lenses that fast... When you multiply out the crop ratio it's similar to f/1.8 full frame. Sony's F/1.02 Full Frame is going to have more light transmission than a T1.05 crop. Sony A7IV also has enough megapixels to use aps-c crop mode so a better comparison would've been to use the same lens on both cameras. A7SIII can't go into crop mode because it doesn't have enough pixels to do so. I feel like I'm missing something...
I wasn't able to watch the whole video because I'm at work, but considering it's a lens review, what is the name of this lens? I mean the brand? Is it a 7Artisan?
For sure these things are personal preference. All the lenses with with these huge maximum apertures have CA, you can stop down to 1.4 or so and it goes away. I actually prefer the look out of these lenses, for video, over my more clinical Somy lenses. I end up using mist filters on the Sonys, to soften the image.
Things have come a long way. In the early 1970's I shot some 16mm film from an old Kodak camera with a fixed lens. The cost was $15 for three minutes worth of run time which included processing of film. The cost was the same B & W or color. So people have to accept that their endeavor is very as F Cool as chit compared to what is available today.When people wanted to make a film for Cannes as an example they were confronted with 35mm film traveling at about 24m frames per second at about three feet of film at a high cost. Just think that due to technology at that time many possible great filmmakers never came to be.
I can't see why it would not, but when I try to enable the focus map, it says the lens is not supported. All the other focus assist tools work well. If you use a monitor, I find that's enough, even a small one.
It really depends on your use case, and you certainly could make the case for that, but most FX30 owners are not also looking at something like a black magic camera, they were always going to buy a Sony. Sony is also the best lens ecosystem to get into.
the top handle on the fx3 and fx30 is the same it is a piece or trash that breaks, i sent my fx3 back cause of this handle pissed me off nice camera and they want me to put this shitty handle on it.
Most people that are buying the FX30, over the FX3, are doing so because of the price difference, but would prefer to have better low light and better subject separation, like full frame.
*** GET THE LENS HERE (Amazon) - geni.us/ICDhaQP ***
*** OR HERE (buy direct) - bit.ly/43hm6mm AND GET 5% OFF WITH CODE MARK5 AT CHECKOUT ***
*** GREAT PRICE ON THE FX30 - geni.us/fCo6 ***
I use these batteries in my FX30, work like the Sony ones, but 25% of the price - geni.us/9pjT
If I have a F2.8 lens for apsc, then what iso's for low light and city night would you recommend?
it's funny how now days it seams to be an issue to shoot with a super 35 sensor when super 35 have been the most used format for film making during our history of making film.
and where a T stop of 2.8 have been the golden standard for films
For sure, it is worth bearing in mind, these consumers grade cameras, don’t have the high end sensors that the Hollywood cameras do, and do require more light. So the low light aspect does tend to be a bigger deal on this type of camera.
@@markwiemels This is actually not quite true. Check out older high end cinema cameras from Arri, Sony, Red and Canon. They are pretty bad in what we as videographers refer as low light. (Which ist totally fine, they are made for cinema use, not videography.)
I know the lens (7Artisans). But what was your rationale for doing a lengthy review and not saying its name? Are you just trying to force people to click on your affiliate link to find out? If so, that seems like a short sighted strategy.
So what lens is this? I watched the entire video and it seems like you forgot to name it.
7artisans Photoelectric 50mm T1.05
He doesn't name the lens because he wants you to click the affiliate link. I enjoy the channel but that's an annoying tactic he should drop.
Well… guess this is a fake review then.
He mentioned the lens at the beginning of the video
@@tajuana_on_a_missionno, he didn’t.
Thanks for saving my time with top handle. I ordered this lense and I'm shocked at how much light it lets in. Great recommendation..
Can you use screen on nd filters on it
In my opinion, ISO should be used for light sensitivity and T/F-stop for depth of field, subject sharpness, and creative look. From the perspective of shooting on film, that's how ISO/stops were intended to be utilized. Also, S35 lenses like this one can certainly be used on full-frame cameras - I do it all the time with vintage cinema glass. It of course narrows the field of view but serves as a deliberate creative choice for the project.
Excellent video. This answered so many niche questions I still had about this lens (and probably the other lenses in the set) after I found answers to all the more basic questions myself.
Great lens and I have the four piece 12, 25, 35, 50mm Cinema set but why do you refer to an APSC sensor as a 'crop sensor'? That almost sounds like it is somehow 'less than' a Full Frame sensor. Sure APSC is smaller but the sensors in the FX30, FS5, FS7, Arri Alexa etc, all the world's favourite 'video movie' cameras are actually Super 35 sensors - the same shape & size as traditional Hollywood Super 35 film camera gates. Shooting video on Full Frame sensors (or Visa Vision) has only become a fairly recent phenomenon.
Question: You mention this was 'made' for a crop sensor, does that means it's 50mm on the fx30, or is it actually like 75mm (w/ 1.5 crop)?
I should do a video on this subject, because it is confusing. A 50mm lens is always a 50mm lens, on a crop sensor camera is has 1.5 crop of the field of view only, everything else remains the same. So yes, the filed of view is more equivalent to 75mm on full frame.
@@markwiemels Thanks, someone who actually understands this
It effectively "becomes 75mm" in the sense that you mean while not technically being the case. I'll explain: You probably know that when a FF lens is put on an APS-C camera, the light is focused as a circle around the sensor but because the sensor is smaller than FF, much of the light is hitting the camera body around the sensor and only the 'cropped' central portion of the light actually hits the sensor giving a cropped image. The reason APS-C lenses are made for APS-C cameras is to focus all of the light onto the APS-C sensor in the same way a FF lens focuses all the light onto a FF sensor.
- But why doesn't this create a non-cropped image if the APS-C sensor now receives all the light? It's because to focus light on a smaller sensor area, it must also collect light from a smaller area in front of the camera which we understand from the laws of optics. This is what the field of view is. The lens must collect the light from a cropped field of view in order to focus all the light onto a smaller sensor. So that 50mm lens is taking light from a cropped field of view which would be the equivalent field of view of a 75mm FF lens.
- So now why are APS-C lenses useful if there's no way of getting around the crop? It's because there are other benefits to allowing the APS-C sensor to collect all the light. The image quality is better because the light isn't as diffuse as it would be through a FF lens on the APS-C sensor, the aperture is no longer affected by the crop factor like it would be using a FF lens on an APS-C camera and the lenses can generally be built smaller and cheaper.
Great video! I’m about to order an FX30 as my first cinema camera and I was searching for the best first lens to purchase. Not searching anymore!
I think if you’re online going to get one lens from this set, get the 25mm, it’s more versatile. I will have a video out on it this week.
@BenPatrik have you heard of Sigma 18-50mm (f/2.8)?
It's what I use on my FX30 and it's superb 😊
@@arthurchinonyerem3740 I ended up getting the Laowa nanomorph 27mm and I love it
@@markwiemels I was going to ask about that after viewing this video today. A 50mm on an APSC camera is a little tight for "most" cinematography I would think. As I'm typing this I realize how silly that sounds. Certainly depends on the subject and environment. Just wondered if I had to have one of these three lenses, should it be the 25, 35 or 50. I was thinking 25mm.
I have the 50 and have used it for great shots at 1.4-1.8 in high-light situations (well-lit dance competition floor) on the a6400, with amazing sharpness, clarity, on the subject, and blur/isolation from the crowd. Tons of compliments from people on the footage.
I filmed with my new fx30 yesterday. I was impressed. I used a prime 16mm 1.4 and in some places I did have to adjust the iso but I’m in love with this camera.
Anything below 2 looks great. But at 2.5 or 3 or even 4, the starts degrading quickly!
although it is true that full frame sensors can produce a thinner/ narrower depth of field. ive never believed that apsc cameras find it hard to get that back ground subject separation. ive been using fuji x system for almost 10 years and ive always been ok with 1.4 or even f2 lenses, and i usuall love wide lenses as well. and i never found it hard to separate background/ make background blur with a 35mm 1.4 or even my 16mm f1.4 from fuji
Really intrigue about these 7artisan Cine lenses. After watching & also reading some of the comments, I'm surprised (but not really), that people went off topics. It's about the lens in most parts. This lens being for crop sensor is really interesting, will be looking for it.
Can you make a tour of your studio? How you made your lightning and setups?
I have been thinking about it, I’m not 100% happy with the look yet, but I’m getting close. Might shot it this week. Thanks for asking.
@@markwiemels passionately waiting)) especially lights and ISO settings
How did you get your camera gear into the stadium? Most places ban it. Looks like a great lens for the FX30!
Funny you ask, it was the first time they checked the camera, and looked at the lens. They said I could only bring in lenses under 200mm. This was 50mm, so it was fine.
Ive got a Mitakon 35mm f.095 love it, its pretty much the only lens I need for my FX-30
Of course it's the 7 Artisans😅👍
I think they are best of the discount lens makers.
What would you use for NDs for it? Thnx for the video, very interesting
Does it support filter adapters?
May get one for my ZVE10m2, quite appealing, thoughts?
There's the sigma 16mm 1.4. happy on my a6300. Good clean dynamic range with cine 4 in dark.
That the lens i shoot all my YT Videos with, it's great.
Awesome video, Mark. Well done.
Thanks!
Thanks for this informative and succinct video!! I’ve purchased this lens to explore on my FX30; any general suggestions for camera settings to use in those lo light settings? I know there are a myriad of factors and related settings but any general starting points would be greatly appreciated.
Any option for ND filter for this lense plz give detail.
Is it possible to focus while following someone backwards on a gimbal.. probably a bit difficult 😥
It is, with a wireless follow focus. Takes a little bit of skill, but isn't as hard as you might think.
@@markwiemels so you’d need to people to operate it
How does this compare to the brighten star 35mm .95? I have this lens, I got it based on your review.
3:36 Gem of information thanks! Learned something new.
Still saving up to grab my FX30 and even though I haven’t considered a 50mm lens, I am now.
Manual focus is huge drawback on these lens. Does not suit for point and shoot scenarios . Makes production slower. But on dark conditions can be the lifesaver for someone.
Agree that will be an issue for some. I think that some people shy away from manual focus, but have not tried it, I alway encourage them to get a cheap manual focus lens and at least give it a try. All your favourite Hollywood movies were shot with manual focus.
Fx30 is a professional camera in the cine line of sony. Any cine lens won't have autofocus. If you want af then don't get a cine lens like this because this is what productions actually look for
@@zaymax_7 I wouldn’t assume that cine lenses don’t autofocus. Rokinon makes a line that does
@@Chris-ey7zy barely cine lenses. They still have focus breathing, don't have an aperture ring
The only cine part of it is the consistent size across the line. The teeth for follow focus are useless because actual productions wouldn't use an af lens for follow focus
Not many have been using the set since it released btw. The optics are basically for photo lenses so people would rather stick to available photo lens options for autofocus. Otherwise they'd use cine if the budget allows
If we are talking about FX30, then according to Sony this camera body is designed for mobility and comfortable operation. In general mostly for point and shoot scenarios. For cinematography you have to buy at least FX6. Why someone buys FX30? You probably have Sony APS-C gear already, so you can use most of your old gear. It gives kinda budget friendly camera body upgrade for A6 line users. When budget is critical, you cannot afford to buy lenses, which are sitting and waiting for one rare moment. You put your money into gear which covers maximum of use cases. Mobility means that you have max 2 lenses with you, one in front of camera body and another in your backpack for some scenarios, which main lens cannot cover fully. From mobility viewpoint you have to consider how to fit all your gear into one single lightweight backpack. So you cannot carry collection of lenses with you. Low prices doesn’t mean always that you can afford that low price gear, because if you are on low budget , you need actually equipment, which covers as much possible scenarios in long run. I don’t see that this lens solves any actual FX30 flaws. If you really want to film in extremely dark conditions mostly, then you you even don’t consider using or buying FX30. On such cases you are already using another more suitable gear. I suppose author of this video doesn’t live in shoes of most of actual FX30 (low budget) users.
Excellent information thank you.
I have the 7artisans 35mm f0.95 wouldn’t that be a better option for low light or is this T1.05 a better option since it is a cinema lens whereas the f0.95 is a photography lens?
I think the vision series of cine lenses might be an upgraded version of those lenses. So they are likely very similar, you would really need ro test them side by side to know which gets more light to the sensor.
I have the 35mm version of this lens and I love it! While manual focus can be a challenge with a little practice I am getting better and find manual focus to be fun and also frustrating. Getting sharp focus at 1.05 is a great challenge but if you can get it at 1.05 you are good at any T Stop. Cheers.
Great to hear, I hope to test the 35mm and 25mm at some point too. I have see some amazing footage out of that 35mm.
Can this lens be used with the GyroData to stabilize a shot in post (ie Catalyst Browse)?
No, and I find that annoying, there is a 3rd party program that allows it, but I dont know much about it.
so you better walk out slowly and steady! @@markwiemels
So then, on gyrodata, are only Sony native lenses compatible with the Catalyst Browse post stabilization method? Cheers from Vic. Aust.
You can DEFINELTY use those 7Artisans Lenses on Full Frame! I do, you get a bit of serious vineting and extreme foreground BOKAH but not as much as other crop-sensor lenes [cause the barrel is so wide. BUT you can ALSO CROP in to 35mm and its fine. Might not be T1.05 but still BOKAH AF, and looks SOO GOOOD
I'm so incredibly happy I found this. The FX30 is within my budget but I was so unhappy with the bokeh performance. ❤❤❤
I want to get this lens!
Yah, it gives a great look.
@@markwiemels also wanted to know, after the review do they ask you to send it back?
7 Artisans has a full frame 50mm T2 for only 379. I may get that one for my A7iv
I have that on canon RF, and really like it.
@@markwiemels cool thanks for the reply man. Great content btw
Does it exist in 14~16mm wide view (full frame values)? For real estate.
Thanks for the info - I was so disappointed originally when comparing the footage against the Sony 6600 this lens will remove the issue. Cheers
Link to the lens is dead.
Please recommend a camera! If you were choosing a camera for a video like this - and that's it, no photos, no handheld shooting, nothing else, just a talking head, a great picture with a blurred background and the ability to record for a long time - podcasts, streams, what should I take?
is there a wide angle lens?
Yes, a 12 and a 23 mm
je me suis pris le 35-50 et 85 mm en plein format, pour mon A7Siii j'en suis super content! qualité de construction et détail de limage juste magnifique !!!
a T1.5 on crop sensor is a T2.5 on full frame equivalent.
Thank you, thank you, thank you!
You are most welcome.
Noob question: Since this is not a native Sony Lens, how do you configure it with a Sony FX30? Cheers!.
You should try slr magic cineprime for s35 and ff
*So Would you Say a Cinema Lens work just as well as Normal Lens for Vlogs? Cause I have a Cinema Lens My First which is a SLR Magic 12mm F2.8 and I have used it for Vlogs because I love the Video quality at 4k 60*
But the a74 only shots 4k in crop mode anyway. Were you shooting crop mode with a 1.8? Basically the same as fx30 with a 1.8.
The A7IV does shoot 4k full sensor, but not at 60fps, then it crops.
@@markwiemels Yes sorry. My mind always goes tot he 4k60 crop when I think of a7iv.
@@prdesignworx Yes, I find the fact that you can maintain great quality 4k useful, in crop mode, but that you can only shoot 4k 60 cropped annoying.
Sorry I'm gonna be that guy but
I get how the sensor size is a flaw to you in terms of lowlight compared to fullframe sensors, but the inability to produce super shallow depth of field should never be seen as a flaw. The newest arri camera even after releasing their large format sensor, is still a super35 sensor. Same with the red komodo that a ton of solo creators have began using, same with the blackmagic 6k pro, same with the ursa g2 and ursa 12k
No one in the commercial or film world complains about it not producing shallow depth of field, heck, a ton of cine lenses are only t2.0 EVEN in apsc/super35. Yet they can produce extremely beautiful images. If you want shallow depth of field then don't buy a super35 sensor camera. It's that simple. Lenses will be a bandaid to that
It’s really just a catchy UA-cam tittle. It’s not intended it to be taken so literally. These videos are made for beginners who are on a budget. The biggest complaint, I see in the fx30 forums, is the high iso and not getting that “full frame look” so that’s what the video is really about, and who it’s for.
@@markwiemels ok that makes sense. The intro of the video might be misleading for beginners (and even intermediate beginners) who have this fullframe mindset. Tons of people think bokeh solves all problems, and forget what lighting and composition is
So with you Zion. Shallow depth of field is such a hype, that many forget about the main points of filming.
@@HolgerReher Precisely that. I'm not knocking off shallow depth of field tho, and literally buying an S5 this month and entering the fullframe world. It's just that people resort to the easy solutions and just that. Seen a ton of videos of beginners getting a $100 7artisans 35mm f1.2 and shooting literally everything wide open. Colors, lighting, composition are all off, and the only thing that stands out is the over the top bokeh
I’m always annoyed by the myth that you need a full frame to get shallow depth of field. I have used full frame, s35, 16mm and 35mm film cameras for professional work. I currently use a micro four thirds camera and have no problems controlling my depth of field in drama or documentary work. I think this has become an obsession and a major distraction from more important issues in choosing cameras and lenses.
So many questions.
For my fx30 I’m after a macro lens, leaning towards the budget meike60 mm as per your and others video. Locked in.
I am awaiting delivery of the sirui 24 mm night Walker. Locked in.
Love the look of this faster vision lens. Given the two focal lengths of the lens mentioned above does it make more sense to get the vision 35 mm rather than the 50?
Should I just stick with the night walkers for consistency. Would I miss the t1.05 over the night walkers t 1.2??
So many questions. 😂
I have another macro video coming, similar price, 2 x magnification, but much larger. Might be worth waiting for that video, I will likely compare it to the Meike.
The 35mm Vision is the best of the set, but if the night walkers give consistent look, and color, across the set (which is not a given, without seeing tests), then I would lean that way. As a single lens, on its own, the 35mm vision is stunning (I have a video on the channel about it - ua-cam.com/video/chaO2gB-gm4/v-deo.html
Mark what is the other macro lens you mentioned here. I noticed that the ttartisans 100mm Bokah beast has a macro version. Is that it?
@@peterquigley2700 ua-cam.com/video/fg-_KNJsKQY/v-deo.html there are two brands selling this lens, I’m told the one I have will be $161, but it’s the same lens with a different name. Not sure what they want for the Pergear one.
I'm confused on what you mean that they don't make full frame lenses that fast... When you multiply out the crop ratio it's similar to f/1.8 full frame. Sony's F/1.02 Full Frame is going to have more light transmission than a T1.05 crop.
Sony A7IV also has enough megapixels to use aps-c crop mode so a better comparison would've been to use the same lens on both cameras. A7SIII can't go into crop mode because it doesn't have enough pixels to do so.
I feel like I'm missing something...
The light transmission is not changed by sensor size. T1.05 on FF is the same as T1.05 on APS-C.
I'm about to buy fx30 should I buy this lens as my first lens?
I would probably start with the 25mm or 35mm from this same cine lens range.
@@markwiemels Suggest some option for me, and thank you so much for responding.
I’m intrigued.
I wasn't able to watch the whole video because I'm at work, but considering it's a lens review, what is the name of this lens? I mean the brand? Is it a 7Artisan?
Yes.
Why compare it with a a7iv??? The thing to compare would be a ZVE1 or FX3 ?
Was just the camera I own. ZV-E1 didn't exist at the time, but I know own it.
Are you shooting log? as you said 1600 iso. The native 3200 is cleaner then 1600 on the a7iv. A7iv is really not the camera to compare with
Seems more suitable for rig work since the focus is manual.
Correct me if I'm wrong.
If for sure can be, with the gearing on the lens, but most people that buy this lens will focus by hand, which is what I did.
Shouldve seen this video before i got the SOny g master f1.4 full frame lens for my apsc fx30 :C
I guess im not seeing what youre seeing. the CA/ color fringing is terrible. the bokeh isnt pleasing to me 8:11.
For sure these things are personal preference. All the lenses with with these huge maximum apertures have CA, you can stop down to 1.4 or so and it goes away. I actually prefer the look out of these lenses, for video, over my more clinical Somy lenses. I end up using mist filters on the Sonys, to soften the image.
What about the 25mm version of this one
Things have come a long way. In the early 1970's I shot some 16mm film from an old Kodak camera with a fixed lens. The cost was $15 for three minutes worth of run time which included processing of film. The cost was the same B & W or color. So people have to accept that their endeavor is very as F Cool as chit compared to what is available today.When people wanted to make a film for Cannes as an example they were confronted with 35mm film traveling at about 24m frames per second at about three feet of film at a high cost. Just think that due to technology at that time many possible great filmmakers never came to be.
Since this is a manual lens, are we able to use the focus mapping feature on the Sony fx30?
Interested on this!
I can't see why it would not, but when I try to enable the focus map, it says the lens is not supported. All the other focus assist tools work well. If you use a monitor, I find that's enough, even a small one.
Does the use of a manual/non-chipped lens also prevent post processing gyro data for stabilisation in Catalyst Browse?
@@mungewell great question! I would like to know this as well!!
@@markwiemels lol so when its coukd actually be usefull its unsupported
You also forgot to mention that the full frame lens will weigh more and be bigger.
Sirui night walker goes to t.2 ?
I lost my comment, but I got to the end of the video on UA-cam of you the 50 mm
ah..nah...the Sigma trios (now four) f1.4 lenses are better. maybe! but this artisan looks really cool...maybe the 35mm would be a better one.
Yeah, the Sigmas are super. I think they serve slightly different purposes, really, I have both and use both.
I use it on my full frame
The lens makes it a Panasonic S5IIx? 😎
The only thing is it has a ton of comatic aberration
Doesn't this defeat the purpose of using a Sony camera? If you're using manual focus, why not use a camera with a better out-of-body image?
It really depends on your use case, and you certainly could make the case for that, but most FX30 owners are not also looking at something like a black magic camera, they were always going to buy a Sony. Sony is also the best lens ecosystem to get into.
Sony is best at balancing for filming everything. Panasonic is clise second but they falls behind in lens selection while sony in software updates
the top handle on the fx3 and fx30 is the same it is a piece or trash that breaks, i sent my fx3 back cause of this handle pissed me off nice camera and they want me to put this shitty handle on it.
i am just stunned....
Almost made me miss home (Melbourne)
Have you checked out the new sigma art dc 23 f1.4?
No, but I'm pretty sure it will be great. The rest of the series is.
hi Guys
i need a used fx30 to buy
who get it?
Yeah.... But you get mad when you try focus on t1😂
That can me an issue.
yay !
Why is that a flaw? If you want a FX30 with fullframe behavior, you should get the FX3.
Most people that are buying the FX30, over the FX3, are doing so because of the price difference, but would prefer to have better low light and better subject separation, like full frame.
@@markwiemels This is like buying a Volvo and saying it's flaw is not being a Ferrari. This is not a flaw, it's a technical circumstance.
@@fabalance4499 This is true, could have been more accurately called a short coming, something that users wish was better.
50mm is too long for super 35.