A Tale of Two T2.0 Zooms (for A6300)

[JazzBox]

On 13 febbraio 2016 at 10:54 PM, andy lee said:

If you just want to buy Two lenses that cover a huge range of shots get the Nikon's , you will need to make rigs for them they are big heavy lenses that need supporting , if you like using small primes that don't need lens supports get the Zeiss

Huge thanks Andy!!

[IronFilm]

On 12/02/2016 at 9:02 PM, Timotheus said:

I'm primarily into photography, and in this focal range I greatly enjoy the Sigma 50-150mm f/2.8 II EX DC HSM (non-OS). A very nice recent find was the vintage Tokina AT-X 60-120mm f/2.8. I'vs seen some Youtube clips of both being used to great effect in video.

Really hope that the mysterious new Sigma lens offers something like the (discontinued) 50-150...great performance, range and size on APS-C, but I am guessing they will proceed with 'uniquely fast zooms' (a la 18-35 f/1.8, 24-35 f/2)...perhaps something complimentary to those two...35-70 f/2?

 

 

Cheers for the tip!

I'll keep an eye out for the Tokina AT-X 60-120mm f/2.8

[Guest Ebrahim Saadawi]

Anyone here got tired of having to use sticks for these telephoto lenses? 

50-150mm on s35 is a pretty huge zoom, as is anything over 100mm (150/160mm eq) ehere I find I just cannot uses these lenses anymore except for static/panning shots, where even IS would help dramatically. 

Personally for my type of spontaneous shooting (even on Alexa XT on a high-end commercial used) I 100% prefer a new IS/VR/VC/OS tele vs cine teles or vintage high IQ options.

I am a collector and huge admirer for vintage glass but not higher than 50mm, and the two 85mm/100mm I strictly keep for stills. Vintage tele lenses?

Up to 50mm on S35, no IS is manageable, a small ring or a slight camera heft takes care of the micro jitters, but at 100-200mm, well maybe I am developing Parkinson's, tremors or some sort of excessive vibration due to any neurological disorder, it's inevitable to get more vibration past 60 years-old, medical fact.

(We've been prototyping a new patented optically stabilized dental hand piece (the scary drill as you may call) made by our medical facility, and since the invention/concept was mine and being the head of the facility, and I personally spent a LOT of research in human hand-motion and micro-vibration. I found it fascinating and applicble to videography/cinematography. One discovery I found uncanny was how much higher the vibration frequency value before breakfast/early glucose/carbohydrate consumption and after. Early waking subject without breakfast numbers are through the chart roof. Another unexpected Caffeine consumption which I thought would be important, turned out a semi flat curve. Out of the 25 subjects, only three showed very slight increase in VFV and Seven showed a decreased vibration value. Worthy of notion the 7 subjects turned out regular/daily coffee users while the three were not users) and the rest are a straight curve at 27Hz +-2)

-Can you keep a small, say DSLR/MILC s35 camera + 50mm lens (or equi) on a subject without shot-ruining jitters? 

-If so, what's the maximum you can go, 85mm? 100mm? 150? 

 

[Phil A]

28 minutes ago, Ebrahim Saadawi said:

Anyone here got tired of having to use sticks for these telephoto lenses? 

50-150mm on s35 is a pretty huge zoom, as is anything over 100mm (150/160mm eq) ehere I find I just cannot uses these lenses anymore except for static/panning shots, where even IS would help dramatically. 

Personally for my type of spontaneous shooting (even on Alexa XT on a high-end commercial used) I 100% prefer a new IS/VR/VC/OS tele vs cine teles or vintage high IQ options.

I am a collector and huge admirer for vintage glass but not higher than 50mm, and the two 85mm/100mm I strictly keep for stills. Vintage tele lenses?

Up to 50mm on S35, no IS is manageable, a small ring or a slight camera heft takes care of the micro jitters, but at 100-200mm, well maybe I am developing Parkinson's, tremors or some sort of excessive vibration due to any neurological disorder, it's inevitable to get more vibration past 60 years-old, medical fact.

(We've been prototyping a new patented optically stabilized dental hand piece (the scary drill as you may call) made by our medical facility, and since the invention/concept was mine and being the head of the facility, and I personally spent a LOT of research in human hand-motion and micro-vibration. I found it fascinating and applicble to videography/cinematography. One discovery I found uncanny was how much higher the vibration frequency value before breakfast/early glucose/carbohydrate consumption and after. Early waking subject without breakfast numbers are through the chart roof. Another unexpected Caffeine consumption which I thought would be important, turned out a semi flat curve. Out of the 25 subjects, only three showed very slight increase in VFV and Seven showed a decreased vibration value. Worthy of notion the 7 subjects turned out regular/daily coffee users while the three were not users) and the rest are a straight curve at 27Hz +-2)

-Can you keep a small, say DSLR/MILC s35 camera + 50mm lens (or equi) on a subject without shot-ruining jitters? 

-If so, what's the maximum you can go, 85mm? 100mm? 150? 

 

I've shot the NX1 with a 85mm lens yesterday morning. In combination with only 4h sleep, 3°C and no gloves, it jitters way more than I hoped.

Does anyone know how effective IBIS (e.g. in the A7 II cameras) is in comparison to IS/VR/OSS?

[andy lee]

You need to build rigs to support long lenses then they work fine , I have rigs to use them on tripods and totally different rigs to use them hand held on shoulder rigs , and they all have rods and lens supports to stop this movement jitters , some long lenses like the Nikon 80-200 I use as lot only work on rigs there is no way you can hold this lens just in you hands and shoot at 200mm .

[JazzBox]

Andy wich Mattebox and rig is that? It seems super cool! Which ND filter do you use on it?
Thank you very much!

[andy lee]

I use Gini Rigs parts to custom make my rigs - they are suppling all the rigs for my new Movie Pandora

based around the 5D MK111 CAGE ..   WWW.GINIRIGS.NET  but with a Panny in it on a quick release plate inside the cage

Tiffen NDs are the Best 

I use Chrosziel matte boxes

[JazzBox]

9 hours ago, andy lee said:

I use Gini Rigs parts to custom make my rigs - they are suppling all the rigs for my new Movie Pandora

based around the 5D MK111 CAGE ..   WWW.GINIRIGS.NET  but with a Panny in it on a quick release plate inside the cage

Tiffen NDs are the Best 

I use Chrosziel matte boxes

Huge thanks, you're super kind! 

[andy lee]

message me if you want to know what bits you will need for each rig - I presume you have gone for the nikon 2.8 zooms

[JazzBox]

15 hours ago, andy lee said:

message me if you want to know what bits you will need for each rig - I presume you have gone for the nikon 2.8 zooms

Thank you!!! 

[Jimbo]

Hi Andy,

I picked up the Nikon 80-200mm AF-S a few months ago after doing some research and coming across your original thread about the lens. Thank you - it's a special lens. I combine it with Brian's Metabones ULTRA and use it with the GH4 in 1080p and it performs admirably.

I actually owned both the Nikon and the Olympus 40-150mm for a few months, then came the financial decision to sell one. I did some testing and the Olympus is sharper (damned sharp) and it didn't ghost like the Nikon when pointing directly into light sources. My brain was saying keep the Olympus; it's newer, it's sharper, more contrast, is smaller, is lighter and has autofocus for day job and can double-up as a handy photographic lens for my m43 bodies.

But my heart wanted the Nikon; the colour, the contrast and mojo of the Nikon were just more appealing. Also, and sometimes we forget this, the handling of the lens was better. I enjoyed using the Nikon more. That combined with F2.0 with speedbooster and just had to sell the Olympus. I doubt I will ever sell the Nikon. I use it for wedding/commercial filming at the moment, but it's part of my Nikon "cinematic' set for when I find time to make a narrative film. Hope to add the 28-70mm to the set down the line!

Thanks to Andy for actively sharing all your knowledge, thanks to Brian for designing something that allows us to combined these beautiful optics with our preferred camera bodies! And as always thanks to Andrew for hosting this space to share the love.