It’s been a busy day for Sony’s Press Centre. On top of announcing the new A6300, they’ve also introduced their brand new line of interchangeable lenses: the G Master range. Included are three new E-mount, full frame lenses. The three lenses announced today include a 24-70mm constant F2.8 standard zoom, an 85mm F1.4 telephoto prime and a 70-200mm constant F2.8 telephoto zoom. G Master 24-70mm F2.8 (SEL2470GM) This lens features three aspherical elements, one of which is a new to market XA (extreme aspherical) which is said to reduce aberration while allowing the entire zoom and aperture range to maintain the highest resolution possible. The other two, the ED (extra dispersion) and Super ED elements are designed to keep chromatic aberration down while avoiding unnatural bokeh. The SEL2470GM features a Nano AR coated, 9-bladed aperture that’s designed to remain circular in all settings, designed to suppress reflections. A new algorithm has been introduced for the SSM, allowing quick and accurate positioning of all lens elements. G Master 24-70mm overview: XA, Super ED, and ED elements Nano AR coated 9-blade aperture AF/MF switch Focus hold, zoom lock, and hood release buttons Dust and moisture resistant G Master 85mm F1.4 (SEL85F14GM) Designed as the G Master range’s answer to portraits, the 85mmF1.4 features the new XA element, as well as three separate ED elements—all working in conjunction to maximize the resolution for in-focus objects while subtly dissipating out-of-focus areas. The 85mm lens also features the most blades ever used on a single lens—a total of eleven—designed to ensure smooth bokeh, as well as an external Nano AR coating to reduce flare. This telephoto prime lens also features a ring drive SSM and two position sensors, all working in conjunction to control the lens’ heavy hardware. G Master 85mm F1.4 overview: XA and ED elements An 11-blade aperture External Nano AR coating A ring drive SSM 2 position sensors Aperture ring with on/off switch AF/MF switch Focus hold button Dust and moisture resistant G Master FE 70-200mm F2.8 (SEL70200GM) The G Master’s answer to the frequently used 70-200mm FR, Sony’s new telephoto zoom lens features three elements, including the new XA, alongside Super ED and ED elements. It also packs an external Nano AR coating. The FE 70-200mm holds a floating focus system, the first of its kind to be included in a zoom lens, providing a minimum focusing distance of 0.96—and ensuring optimal performance during photography and filmmaking. Featured again is an SSM, working in conjunction with dual linear motors to shift large lens elements quickly and accurately. Also built in is Optical SteadyShot image stabilization and a rotating tripod mount. G Master FE 70-200mm F2.8 overview: XA, Super ED, and ED elements A floating focus system SSM & Dual linear motors Eleven blade diaphragm Optical SteadyShot image stabilization A rotating tripod mount Fluorine coating Focus hold button Focal range limiter Dust and moisture resistant Also announced today were two teleconverters, 1.4x and 2x models, set to be compatible with the FE 70-200mm lens. G Master Range Pricing and Availability The FE 24-70mm F2.8 and 85mm F1.4 lenses will be available in Europe from March 2016, priced around €2,400 and €2,000, respectively. The G Master FE 70-200mm F2.8 Telephoto Zoom lens, and its teleconverters are due to be released in May 2016 and pricing has yet to be confirmed. Visit Sony’s Press Centre for the full release. Image: Sony Europe.Read more
The Batis lens line from Zeiss announced last month are now available for pre-order. The FE mount (Full Frame E-Mount) lenses are a worlds first to include a PMOLED screen to display focus distance for use in lowlight. Like many Zeiss lenses, it’s just nice to sit for a while and stare at the sheer beauty: Zeiss absolutely nail their aesthetics, simple sleek and classy. The Batis line is the epitome Zeiss in this regard, yet in others offer features that are unusual and “out of character” for both the company and any other lens manufacture. I’ll speak of the obvious first, the inclusion of a PMOLED screen. The same technology found in eBook tablets, the screen offers a low power solution that is viewable in bright daylight. Gone are your traditional etchings or perspex window meaning the design is sleek and minimal without the pitfall of lost information. The second glaring factor is the inclusion of autofocus and image stabilization (latter 85mm only); very rare for a Zeiss lens. It’s no secret that Sony and Zeiss have a heavy affiliation, and this partnership has produced many auto focus lenses in the past, but these are usually made by Sony under Zeiss’ specifications as Sony provides the electronics needed for the auto focus capabilities. Yet it seems the Batis line is a proud child of the main Zeiss family (unlike all other Sony/Zeiss E-mount lenses the Batis line show up on Zeiss’ main website). Zeiss are renown for their solid manual focus manual aperture lenses, so this Batis line becomes a very interesting venture. Like the Loxia line, Zeiss have announced two Batis lenses to start. Thankfully they chose two focal lengths not covered by the Loxia pair, a 25mm f/2 and a 85mm f/1.8. Both lenses are FE mount, meaning they will fit on any E-mount camera, supporting both full frame and APS-C sensors; I can’t wait to try these out on my Sony A7S. Here’s the spec of both lens: Zeiss Batis 25mm f/2 Aperture Range: f/2 – f/22 Camera Mount Type Sony E (Full-Frame Angle of View 82° Minimum Focus Distance 7.87″ (20 cm) Maximum Reproduction Ratio 1:5.2 Elements/Groups 10/8 Auto Focus Filter Thread Front: 67 mm Dimensions (DxL) Approx. 3.19 x 3.07″ (81 x 78 mm) Weight 11.82 oz (335 g) Zeiss Batis 85mm f/1.8 Aperture Range: f/1.8 – f/22 Camera Mount Type Sony E (Full-Frame) Angle of View 29° Minimum Focus Distance 2.62′ (80 cm) Maximum Reproduction Ratio 1:7.9 Elements/Groups 11/8 Image Stabilization Auto Focus Filter Thread Front: 67 mm Dimensions (DxL) Approx. 3.19 x 3.62″ (81 x 92 mm) Weight 1.05 lb (475 g) Combined with the Zeiss Loxia 35mm f/2 and 50mm f/2 there is now a really credible set of primes available for the full frame E-mount. It’s great to see E-mount taken seriously as theirs many great cameras now sporting this lens format (Sony FS7, A7S, FS700). I’ve used a handful of FE Sony/Zeiss lenses and wasn’t impressed with the build quality or feel of the focus ring. The weather proofing on the Batis line is an immediate step forward, I just hope the focus ring is up to the usual Zeiss par, as stopless focus rings can be a right pain for video.Read more
Here’s a list of all the co-branded Samyang lenses and how to get the best deals on them. These lenses are a good choice for filmmakers on a budget who are looking to shoot with prime lenses that are somewhat cine-worthy.Read more
The Zeiss Otus 55mm f/1.4 is considered as one, if not the best performing lens in its respective category. Now, Zeiss has released it’s second in the line up, the Otus 85mm f/1.4. Lens manufacturing is usually hindered by many factors – weight, cost, size. Zeiss gave their technicians no boundaries when making the Otus; make the best lens you possibly can. And for those whom have experienced the Otus 55mm first hand I’m sure will agree, it’s a stunning piece of technology; edge to edge sharpness is second to none. At the time of release Zeiss stated that the Otus line would expand in the near future; the Zeiss Otus 85mm f/1.4 is the second lens in their stills flagship line. In regards to specification, it’s very similar to its shorter focal length brother. Weighing nearly the same at 2.65 lb (1.2 kg) and a little longer at 3.98 x 4.88″ (101 x 124 mm) in dimension. The Otus line are certainly not small or light, quality comes at a price. It sports 11 elements in 9 groups, has a 9-blade aperture diaphragm and a magnification ratio of 1.7.7. Like the Otus 55mm it has an aperture range of 1.4-16, and a larger front element of 86mm (versus 77mm on the 55mm). Minimum focus distance is never a strong point for an 85mm, but the Otus 85mm performs better than average at 80cm. At a cost and weight that will over shadow most filmmakers cameras bodies, this lens has an acute target audience. Many I’m sure will rent over purchase. If you prefer your shorter focus throws (compared to cine primes) and are looking to rent a high quality lens, the Otus line could just be the one for you. The Zeiss Otus 85mm f/1.4 is available pre-order now in both Nikon and Canon mount.Read more
If you’ve been shopping affordable manual prime lenses for your HDSLR then you’ve probably stumbled upon or even own the famous Samyang / Rokinon lenses like the $500 35mm f/1.4 or the $400 14mm ultra-wide. [UPDATE]: cinema5D member Gumzster informed me that the 8mm fisheye already exists as a cine version. [UPDATE 2]: The Samyang 35mm T1.5 Cine lenses is now available for pre-order $549: “Rokinon 35mm T1.5 cine lens will be available in U.S in few weeks and Rokinon 24mm T1.5 & 14mm T3.1 cine lens will be available in U.S in September.”Read more
Here’s some more test footage from the new Canon 650D by Johnnie Behiri. Unfortunately no other word on the clean hdmi out he revealed this week. From the vimeo page: The camera is very easy and pleasant to use. Picture quality is identical to the more expensive (but older) 7D. The real news with this camera (beside the AF which I was not able to test) is the clean HDMI output, a first ever in any Canon VDSLR. It is yet to be seen if in the final camera firmware it will be 100% usable and functional. You can DOWNLOAD the source file here. -No color correction -Editing software, Premiere CS2 with Cineform engine On a sidenote: The new 40mm f2.8 STM (video autofocus) pancake lens is now available: LINKRead more
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