mercer

@JordanWright but I guess with some of these zooms you're just getting close to your Sigma. To keep it simple, you could look at the Canon 20mm 2.8, or the Tokina 17mm 3.5. I had the older RMC version and I quite liked it. I never used the newer version, but I assume they're similar. If I was in your position, I'd probably go with the Canon. But I'm a huge fan of the 28mm 1.8 and the 50mm 1.4, so I may be a bit bias.

At a half a pound heavier and half an inch longer, than the 11-16mm, you can gain a stop with the Tokina 14-20mm f/2.

I spent a couple weeks going through the lens section on the red user forum and the 11-16mm seemed to be a pretty popular wide option when the Zeiss ZF/ZE lenses were very popular with the Red crowd. Whatever that means, I guess. There's also the older Sigma options... the 10-20mm or the 20mm 1.8. The Voigtlanders are hard to come by on this side of the Atlantic as well. And when they are for sale, the seller usually wants almost what they go for new.

Haha... 'lack of victims." Have you hired a lot of models in the past? For my upcoming short films, mostly horror/thriller I was thinking about going the model route, instead of an actress, since some of the female roles don't have any lines of dialogue.

I think the push/pull aspect of the lens is what's keeping me from buying one. On the other hand, one of my first lenses was the Series E 36-72mm and I kinda liked the ability to zoom and focus at the same time... but that was a long time ago and my priorities have changed I guess.

Thanks for the link. I may keep an eye open for one. I had one of the cheaper 28-70mm 3.5-4.5 D zooms and it was pretty okay optically, but I didn't love the focus ring. It did have 9 blades, so that helped with my overall impression of the lens. I feel like the AF-D lenses have a slightly more modern rendering than the ai-s lenses and although I've been dying to get a copy of the 35mm f/2 D, I read you can only change the lens to MF on the camera body and since I don't own a Nikon camera, I don't want to get stuck. I have the Nikon BMPCC speedbooster for my Micro, so I am trying to keep most of my lenses usable for both cameras. Of course, I'm contemplating another camera purchase, solely for B&W and I may go native mount with that camera. Anyway, any new shots with your FP/7artisans 28mm 1.4?

I love Tokina lenses. I have the 24-40mm 2.8 that I've always loved. I should bring that out the next time. I could really use a long zoom. @BTM_Pix has recommended the Nikon Series E 75-150mm that's intriguing.

I have to watch myself here, I have the non-ai lenses, a couple 50mm f/2, a series e 50mm 1.8, and two ai-s lenses... the 35mm 1.4 and the 85mm f/2. I bought the 85mm to go with my Kowa 16D, but I haven't tested the set up yet. Oh yeah, I also have the non-ai 45mm 2.8 that I have yet to test, but that's kind of a weird lens. Before I started using these non-ai lenses, I was thinking about buying new ai-s lenses or as new as I can get based on their discontinue date. But now I'm not so sure. I'm considering keeping the non-ai lenses and picking up a couple of the AF-D lenses. How are the focus rings on the D lenses compared to the ai-s? I assume they aren't as good, but are they horrible? I've been eyeballing the 20-35mm 2.8 after seeing some great frames on Flickr. My dream lens is the 28mm 1.4 D but the price is just a bit perverse for my humble needs.

I was going to suggest the Samyang 16mm as well. I briefly used my friend's and it has a nice mix of a vintage/modern look in its rendering. Also the Tokina 11-16mm has always been a popular wide option if you don't mind a zoom. Otherwise, Voigtlander has the 20mm 3.5, if speed isn't an issue. It will also closely match your Zeiss and Voigtlander also makes the highly regarded 40mm f/2 and 58mm 1.4 if you ever want to build out a set. https://dustinabbott.net/2016/04/voigtlander-color-skopar-20mm-f3-5-sl-ii-review/

I paid $40 for the Nikkor-SC 50mm 1.4 and it's proving to be one of the best lens purchases I've made. @kye is correct, I also have the 105mm 2.5 from the same vintage. I haven't used it yet, though. I already owned the 28mm f/2 when I picked up the 50 and at the time I was more worried about some other lens set. I think my priorities have been backwards for a while now. I'm thinking about filling in the blanks with the 35mm f/2, 85mm 1.8, and one of their wider angles. As of now, I have less than $300 invested into the 3 lenses so I'll be on the lookout for some of the other non-ai lenses. Did they make a 200mm non-ai?

After a long year, I've spent the first couple weeks of 2021 reevaluating my gear and what I really need for 2021. In the process, I decided to revisit some of the inexpensive lenses in my collection. I have some plans going forward which involves a slate of micro short films. I'd like the productions to be as bare bones as possible using humble equipment. Luckily, I was able to get out and shoot some test shots for an upcoming thriller/mystery short entitled "Under the Boardwalk" I brought the Takumar 50mm 1.4 and an old Nikkor 50mm 1.4. Here are the results of my test... Takumar 50mm 1.4 Nikkor 50mm 1.4 It's been a lot of fun testing out some old lenses and I must say I love the old Nikkor more than some lenses I paid 10 times more for. Are there any old, cheap lenses that you guys love more than the generic modern lenses a lot of people use?

Once you paste the link, do not hit enter right away. Wait for the video to embed. If you're trying to paste a Vimeo link, make sure your original link isn't on the Description or Comments tab or it won't embed either.

It's definitely not a perfect scenario, but if we were shooting in perfect scenarios, we'd all own, or have access to an Alexa. So compromises need to be made. Of course, you are making good points. But I always think something I shoot could end up being B&W anyway, so I like to have a look at the footage in monochrome. With my 5D, I've never had an issue, but I often switch back and forth between color and B&W while monitoring. With the older Panny's I've used, CineLikeD usually had weird skin tones anyway so it didn't matter too much. I assume with their newer cameras and the vLog LUT monitoring, it's much different. All in all, I try not to trust focus peaking too much anyway. I always punch-in before hitting record.

This video helps to explain how Panasonic's focus peaking works and its settings. With my past Panny cameras, I was often frustrated with their focus peaking implementation, but when you could see it, there was no question it was in focus. I ended up monitoring in B&W using red lines to make it a bit easier.

Happy Holidays! Since Covid-19 has made shooting possibilities pretty limited, I've decided to shift to micro short films. Here are some test frames using the Canon FD 50mm 1.2 L...

I've heard great things about the IQ of the Sigma, and I'd probably choose that over the Tamron, unless you are looking for primes to pair with it... the Tamron 35mm and 45mm get pretty good reviews. Good luck.

Thanks, it's actually a raw video frame. I felt the same way about f/4 until I noticed that I was consistently shooting between 35 and 50mm, so I used the zoom most of the time and then when I needed more light, I put the, equally excellent, 35mm f/2 IS lens on the camera. It made a perfect little two lens set up. Regrettably, I sold the f/4 zoom and have missed it ever since. I thought about replacing it with the lenses you're considering, but I've heard the Tamron attracts a lot of dust and the Sigma is just so massive, with a backwards zoom/focus ring placement.

If you can get by with an f/4, the Canon 24-70mm f/4 is fantastic and the IS is better than some of the cheaper cameras with IBIS... This was shot with the 24-70mm at f/4...

That top shot is gorgeous and a perfect example of a thick image. I've dismissed upgrading from my 5D3 ML Raw due to the color depth it provides. The FP is the first camera that has me curious about an upgrade. I'd love to see a comparison between the 5D3 ML Raw vs Sigma FP vs D16.

C100 Mark II - 4K sensor downscaled to 1080p in camera - small file sizes that most computers can edit - good AF. Here's a short film I watched recently and it looks clean and detailed to me...

No worries. I apologize if I was being over sensitive. Actually, my best friend of 30 years died of complications of Covid-19. He was a filmmaker in the middle of pitching a film to Netflix when he contracted Covid, and he was also a film critic for Pop Matters. So honestly, when I read these arguments about stupid cameras, I kinda laugh it off now and wish I never got involved in those arguments in the past. Do I think 12K is silly... yes... but I'm still happy with my 1080p raw... so obviously I'm not the target consumer for this camera. I'm still trying to figure out what filmmaking is in today's world and without my friend, so I have little interest in arguing about politics or cameras. Live and let live... On a positive note, I'm in the middle of writing a script, for a short film, that can be shot during Covid and I'm hoping to shoot it by the end of the summer. I hope you and your loved ones are doing well. Please continue to be cautious, and safe!!!

@Geoff CB that was a mean spirited down vote to @hijodeibn 's comment. I feel I have always been very supportive of most people's endeavors on this site. I'm sorry if my presence offends you. Don't worry, I have no intention to keep posting. Just saying HI!

We know you know. Haha.

Hey, it's actually a fun little lens, if you're not chasing speed. I used it at 5.6 for run and gun when I needed to get inconspicuous, quick shots in public to kinda match with my 28mm 1.8. I shoot on a 5D3 with ML Raw, so I only have one-touch AF, but it seemed pretty fast and relatively quiet. Honestly, I don't remember how the breathing was, but most USM lenses, I've used, tend to breathe a little. There wasn't any quirks of note. It vignetted a touch on the wide end. I tend to like lenses with character... hence the 28mm 1.8 and it's curvature, but the 24-85mm seemed a little flat and two-dimensional. Ken Rockwell's review of the lens is pretty spot on. I bought a mint copy that came with the original box and the lens hood, which is supposedly rare? When I noticed I could double my money, I ended up selling it... not because I didn't like the lens, I just got what I needed from it and threw out a Buy it Now price that actually ended up tripling my money. I posted this frame in another thread... How do you like the R with the speedbooster?

Blackmagic are the crack dealers of the camera industry... have a taste of 4K BRaw at $1299... oh you like that... try this 6K BRaw for $2499... wait... since you're such a good customer... you can have it for $1999... Next thing you know, wedding videographers will be tweaking all over the dance floor... dreaming about how much they could crop into a 12K image to properly capture the snot from the bride's nose in a glorious 8K delivery...