ZEISS Nano Primes: Entry-Level Lenses with a Classic Cinema Look
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- Опубліковано 15 лип 2024
- The new ZEISS Nano Prime lens line is designed for filmmaker with a mid-range budget. These E-mount lenses come in 18, 24, 35, 50, 75, and 100mm focal lengths all with a T/1.5 aperture to allow for versatility on set. Scott shares the info on the latest from Zeiss.
Learn more at B&H Explora: bit.ly/4856Km7
Shop these prime cine lenses at B&H: bit.ly/3w5VTev
Testing (Almost) Every Entry-Level ZEISS Cine Lens: • Testing (Almost) Every...
0:00 About This Lineup
1:53 Specs
4:38 Test Footage
7:19 What do you think?
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#ZeissLens #CineLens #CinemaLens - Наука та технологія
I had some sticker shock at first. I wish they added b roll of the game of pool and showed some examples of shallow depth of field. I guess I will have to wait. I am pretty sure BH will extend my credit line for these. HAHA
There is no game of pool in this video. It's a bunch of uninformative, static indoor interview footage.
Am I crazy or is the FX3 footage much softer than the a7R iv? I watched the interview segment several times and it seems very noticeable to me. Does anyone else see this, and if so maybe B&H could elaborate if there were any setting differences between the 2 bodies. It seemed like the FX3 was a much slower frame rate causing motion blur... I can think of no other reason to account for the softness of the FX3 image.
Fx3 12 megapixel sensor. A7iv downsample 6k and 31 megapixel sensor.
Or fx3 might be slight off focus
Meike FF cine lenses cost $1000 and look nearly as good in both character, Chromatic aberration and creamy bokeh.
C'mon man. Your focus is off on the footage test. What a bunch of hacks. How can you share that footage? You should have reshot it.
The chromatic aberrations on the 100mm are out of this world, how could you release something like that for 5k?
Sigma's 105mm F1.4 handles them like way better... 1:29 shows awful CA on the sony logo and the lanyard attachement...
It's cine lens, not photoagraphy lens. Chromatic aberrations is waht makes the 3d pop looking. Most cine lenses have chromatic aberrations.
The limited SE version of Atlas Orion has more chromatic aberraions than the normal ones.
The company’s name is pronounced “Tsais”, not “Zzzzeis”.
Entry-level lenses that cost US$4500+ each. Tell something is overpriced without saying it's overpriced.
Right?! Like how much better can these be than the Distagons in the context of “Entry level” outside of the housing?
@@timstephson5025 Both of you NPC's have no clue what you're talking about. These are Cine lenses built to endure rigorous punishment in whatever environment you put them in. The look that they produce and the materials they are made of are well worth the money. $4500 isn't too much to ask for a single cine lens of this quality. Just stick to making tik Tok videos on your android, leave the real film making to the people who care enough about the craft to invest in the right tools for the job.
@@walmartpimp2 Of "this" quality? Tell us about your rigorous testing of them, then.
@@SoundOfYourDestiny I have a 50mm Zeiss CP.3 which is around the same price range as these and has a similar build and look. Any more ignorant questions?
@@walmartpimp2 Translation: You haven't used these, and you're a poser douchebag.
"Cinematic look" does NOT arise from the use of full-frame cameras. Full-frame is a STILL-camera format. 35mm cinema images are Super-35 (essentially APS-C)-sized. Why not educate people on this, instead of regurgitating the same incorrect information that dominates conversation among noob shooters? Full-frame gets you excessively shallow DOF for a given aperture, resulting in missed focus in shot after shot. You can see this in festival shorts all the time, where the shooter couldn't even get both of a person's eyes in focus, or his nose and his cheek in focus, or the actor moved an inch and went out of focus.
Come on.
I will give Zeiss credit for jumping on the user-changeable-mount trend. Every manufacturer should be doing this.