Replacing the Sigma 18-35mm f/1.8 on Panasonic GH5

[jonpais]

@IronFilm My bad! I should have said that neither the Panasonic 12-35mm f/2.8 nor the Panasonic f/1.7 primes can hold a candle to the Sigma 18-35mm for its combination of s35-FF look, speed and rendering. Bold claim, right? ?

[thehebrewhammer]

The Voigtlander 17.5mm and 25mm are both good options if you are looking for a prime. Otherwise sigma 18-35  with Speedbooseter - especially if you already have the lens and don't mind the weight.

[IronFilm]

4 hours ago, jonpais said:

Bold claim, right?

So bold! But that is why we have these:

4 hours ago, thehebrewhammer said:

The Voigtlander 17.5mm and 25mm 

 

[Frank5]

36 minutes ago, IronFilm said:

So bold! But that is why we have these: The Voigtlander 17.5mm and 25mm

 

Or the Mitakon 25mm f/0.95.

[jonpais]

So my bold claim still holds true, no? Anyhow, these micro 4/3 lenses can't give the highly desirable s35-full frame look that can be achieved with adapted glass on the GH5s. I can't see why you'd want to buy mechanical lenses unless you're planning to do rack focus, in which case the Veydras can't be beat for optical quality, build quality or price. Another huge factor is flexibility - the Sigma 18-35mm is a lifetime investment and can be used with any camera system; the Veydras may also be mounted on Sony E-mount, Fuji X-mount, C-mount and micro 4/3 bodies (including Blackmagic and the LS300) - whereas the Voigtlanders and the Mitakon are one-trick ponies.

@IronFilm Would you purchase a microphone that could only be used with one camera system?

[GreekBeast]

38 minutes ago, jonpais said:

he Sigma 18-35mm is a lifetime investment and can be used with any camera system;

Which is a better metabones for gh5? Ultra or XL? I shoot weddings and corporate. 

[jonpais]

I’d be inclined to go along with @Fritz Pierre and opt for the XL.

[Kisaha]

@GreekBeast That was my point exactly! Your second older video, was more to my liking, didn't have a constant movement of its shots, that caused me nervousness. I didn't like the photos zoomed in (you should have shot 4K, and make the zoom ins, or zoom in from 100% to 120%, even this small-ish difference is enough to make your point and does not harm your image, hell, sometimes I do 100-105% zoom in and is enough to make my statement).

Ibis is a huge trap, EVERYONE I know have fallen into. My advice is, do not forget your other stabilized methods. A TRIPOD SHOT IS A SHOT USING A CAMERA ON A TRIPOD!

Nicosia, yes, but I traveled a little bit, I had many friends in Cyprus from Uni in UK. I leave in Athens by the way (a Greek, but not a beast!).

@Frank5I will add again the same lens I did before, because I believe 2 times, that is the best lens for the job!

Olympus 12-100 4f!!

The separation when you shoot wide open, and above 50mm, is tremendous. The ability to have hard stops on your 2 focus extreme is unparalleled and very useful on the field, the quality in most focal lengths is outstanding, MSC ("Movie & Still Compatible") focusing system, minimum focusing distance at 0.15m (0.49ft)!!! with x0.6 magnification, real 5 stop image stabilization, fully splashproof/dustproof/freezerproof and so small and light!

Sorry to say, but the new Pannasonic 12-60  handles like a toy in front of this, is 2.8 only on its wide end, and goes to 60mm, great little lens, good offer, but the Olympus is screaming business!

If you do not really care about versatility, just buy one of the primes the people mentioned above. No need for a zoom on an interview situation really..

[IronFilm]

3 hours ago, jonpais said:

the Veydras may also be mounted on Sony E-mount, Fuji X-mount, C-mount and micro 4/3 bodies (including Blackmagic and the LS300)

Almost the same could be said about Fuji's new cine zooms. 

 

[Frank5]

3 hours ago, jonpais said:

So my bold claim still holds true, no? Anyhow, these micro 4/3 lenses can't give the highly desirable s35-full frame look that can be achieved with adapted glass on the GH5s. I can't see why you'd want to buy mechanical lenses unless you're planning to do rack focus, in which case the Veydras can't be beat for optical quality, build quality or price. Another huge factor is flexibility - the Sigma 18-35mm is a lifetime investment and can be used with any camera system; the Veydras may also be mounted on Sony E-mount, Fuji X-mount, C-mount and micro 4/3 bodies (including Blackmagic and the LS300) - whereas the Voigtlanders and the Mitakon are one-trick ponies.

@IronFilm Would you purchase a microphone that could only be used with one camera system?

Agreed. The same can be said for the Sigma 16mm tough as well. My goal is to have a compact system as an alternative to the big C300 system I already have, not to replace it entirely.

[jonpais]

@IronFilm Maybe so. They are also almost compact, almost affordable, almost T2.2 and almost all metal too. Seriously though, I’ve got nothing against the MKs, they’re excellent optically from what I’ve seen, but a bit pricey. 

9 minutes ago, IronFilm said:

Almost the same could be said about Fuji's new cine zooms. 

 

 

[IronFilm]

1 hour ago, jonpais said:

Seriously though, I’ve got nothing against the MKs, they’re excellent optically from what I’ve seen, but a bit pricey. 

Cheap though compared to the competition! 

[jonpais]

@IronFilm True enough. Then again, I think the OP is looking for a compact system, which is why I recommended the mini primes if cine lenses are what he wants.

[Frank5]

@jonpais These are all great suggestions, many thanks! In your experience, is the "look" of a 16mm on MFT (32mm equivalent with 2x crop) different from the look of a 24mm on APS-C (~32mm equivalent with 1.6 crop)? Just wondering. 

[IronFilm]

Physics says..... there is no difference. 
(assuming all other factors are held constantly in proportion)

[jonpais]

@Frank5 the depth of field is identical.

[anonim]

On 2/15/2018 at 3:15 PM, jonpais said:

@Frank5 Remember, the GH5s has ETC mode, so you are effectively getting two focal lengths for the price of one.

This , I suppose, can't be enough stressed. Two 4k focal length possibilities. There's also and third for HD, multiplication is x2.7 and with GH5 we can shoot with All-I amazing 200Mb HD codec - if final delivery format is HD, and if you can go under 800 ISO value, with one fast prime you indeed have some sort of zoom. For example, with Voigtlander 17.5 there are 17.5/25/47.25 = 35/50/95mm full frame equivalent options for HD, or 35/50 full frame eq. in 4k.

As everybody here knows - even in work circumstances, shooting is mostly some sort of loving process. If you love your lens(es), you'll find a way to make the best out of it. So, I dare to quote here Little Prince as shooting guru - “It's the time you spent on your rose that makes your rose so important..."

(Saying that, just to add - shooting with m43 electronically controlled lenses, for getting mellower cine-image it is usually "the-must" usage of some a-la-mist filter for taming oversharply contrast. From my experience - although I didn't try last Oly pro f1.2 primes - just two of them could be left without filter cloth - one of two is Olympus 75mm on Panasonic, and I don't know why. It is not only that its true detail-discerning capability closely match that of, say, Canon's L 1.2, but also and in color rendition and grading flexibility...)

[jonpais]

23 hours ago, Kisaha said:

@GreekBeast That was my point exactly! Your second older video, was more to my liking, didn't have a constant movement of its shots, that caused me nervousness. I didn't like the photos zoomed in (you should have shot 4K, and make the zoom ins, or zoom in from 100% to 120%, even this small-ish difference is enough to make your point and does not harm your image, hell, sometimes I do 100-105% zoom in and is enough to make my statement).

Ibis is a huge trap, EVERYONE I know have fallen into. My advice is, do not forget your other stabilized methods. A TRIPOD SHOT IS A SHOT USING A CAMERA ON A TRIPOD!

Nicosia, yes, but I traveled a little bit, I had many friends in Cyprus from Uni in UK. I leave in Athens by the way (a Greek, but not a beast!).

@Frank5I will add again the same lens I did before, because I believe 2 times, that is the best lens for the job!

Olympus 12-100 4f!!

The separation when you shoot wide open, and above 50mm, is tremendous. The ability to have hard stops on your 2 focus extreme is unparalleled and very useful on the field, the quality in most focal lengths is outstanding, MSC ("Movie & Still Compatible") focusing system, minimum focusing distance at 0.15m (0.49ft)!!! with x0.6 magnification, real 5 stop image stabilization, fully splashproof/dustproof/freezerproof and so small and light!

Sorry to say, but the new Pannasonic 12-60  handles like a toy in front of this, is 2.8 only on its wide end, and goes to 60mm, great little lens, good offer, but the Olympus is screaming business!

If you do not really care about versatility, just buy one of the primes the people mentioned above. No need for a zoom on an interview situation really..

I'm impressed with your eloquence, I was just about to head out and get the Olympus myself. But before I do, could you share some examples of interviews shot with the lens that show off the excellent separation between subject and background and nice creamy bokeh?

[Frank5]

1 hour ago, jonpais said:

I'm impressed with your eloquence, I was just about to head out and get the Olympus myself. But before I do, could you share some examples of interviews shot with the lens that show off the excellent separation between subject and background and nice creamy bokeh?

Yes, that would be interesting. From my own experience, f/1.8 offers just good enough DOF for interviews recorded from a short distance as I do. f/2.8 already has too much of a video look. I can't imagine an interview recorded indoors at f/4 will look cinematic.

[Arikhan]

@Frank5

Put your subject with his/her back 6 meters away from a black (dark), non-illuminated background. Apply to your subject a three point lighting with a strong backlight. And voilà, you will get a separation, even with MFT and f4 at 80-100mm. 

OK, I have to admit, there are much more comfortable possibilities to get there, but...it's still possible.

@Kisaha

On 16.2.2018 at 11:03 AM, Kisaha said:

The separation when you shoot wide open, and above 50mm, is tremendous.

A separartion is possible, yes. But "tremendous" ? Physics is not about opinions or taste. Physics is a science...