The Canon XF405 is at the helm of a whole fleet of small-sensor camcorders just announced by Canon. 4K 50/60p – The Canon XF405 & XF400 At the forefront of Canon’s latest announcement are the XF405 & XF400, two videojournalist-style camcorders with a 1” 1.0-type 13.2MP CMOS sensor paired with a Dual DIGIC DV6 image processor. This combination makes it possible for these two models to capture a resolution of up to 4K, at frame rates of up to 59.94p. This means that – should you have the need – these cameras allow you to deliver 4K content for use in news broadcast environments in cases where 50fps is required, or to add a slight slow motion effect to your 4K footage. Both the Canon XF405 and the XF400 feature a 15x optical zoom with a full-frame equivalent range of 25.5-382.5mm, making it ideal for fast-paced news or documentary environments, but still offering an adequate shallow depth of field and low-light capabilities with a maximum aperture of f/2.8. Both cameras offer Canon’s excellent Dual Pixel Autofocus seen in their cinema line of cameras, as well as optical and electronic image stabilisation – another plus for dynamic, documentary-style shoots. Both cameras record AVC-HD and MP4 to dual SD cards – which allow for simultaneous or relay recording – in HD 10-bit 8-bit YCC 4:2:0 35Mbps, and in 4K 150Mbps. Additionally, they offer up to 100fps at Full HD resolution, and will be capable of recording in the XF-AVC codec after a firmware update coming in the first half of 2018. Externally, 4K remains 8 bit, but 4:2:2 color sampling is possible if shooting up to 25p. Both cameras offer an HDMI output, but only the XF405 offers SDI which, incidentally, is HD only. The difference between the two? That SDI output. Other features include two XLR inputs, 3-stage ND filter, as well as a 58mm front filter thread for the new WA-U58 0.8x wide-angle converter and TL-U58 1.5x Teleconverter, adding to the overall flexibility of these models. The two new converters. LEGRIA GX10 As a smaller sibling to the Canon XF405 and XF400, the new LEGRIA GX10 seems to fill the more consumer-oriented gap. Doing away with the top handle, this model loses some of its features such as manual audio controls and XLR ports, restricting microphone inputs to a single 3.5mm mini jack. However, the LEGRIA retains many of the important features under the hood, such as 4K 50p, 150Mbps bit rate, Full HD Slow Motion at 100Mbps and dual SD cards. XA15 and XA11 – The HD Counterparts In addition to the aforementioned cameras, Canon has also announced the XA15 and XA11, a couple of small camcorders with an HD CMOS Sensor and an earlier DIGIC DV4 processor. They can deliver Full HD recording in 50p at 35Mbps, and offer a 20x optical zoom with full-frame equivalent of 28.8-576mm. Like the Canon XF405 and XF400, they will offer 5-axis image stabilisation for dynamic yet stable handheld shoots. Are you in the market for a versatile small-sensor camera to add to you arsenal? Could these new Canon models fit the bill? Let us know in the comments below.

In this guest review, DP and Director Thomas Schweighofer takes a look at the Sigma Cine High Speed Zoom line during a documentary shoot with a RED EPIC-W Helium 8K. Please also read Graham Sheldon’s extensive review of both Sigma zoom lenses, which we published a few months ago.  I recently had the chance to shoot a documentary project in the US featuring Austrian musician Dominic Muhrer and American Superstar Joshua Ledet. In order to achieve a better image quality in this particular project, I wanted to get my hands on some of the new Sigma cine primes, but at that point in time it was just too early to get a set. Instead, the folks at Sigma contacted me and told me to test their Sigma Cine High Speed Zoom cine line. I agreed but, being so used to shooting with primes, I didn’t expect too much.  I will admit I realised my expectations were totally wrong the moment I held the 18-35mm T2.0 and 50-100mm T2.0 lenses in my hands. Their full-metal bodies, their size and weight, and their dust and splashproof build made a strong first impression. I immediately had the feeling the Sigma Cine High Speed Zoom range were lenses I could rely on. As far as my setup was concerned, I was shooting with my RED EPIC-W 8K Helium S35 camera and, of course, my MōVI Pro gimbal. I am not going go into detail about camera and gimbal settings – suffice it to say these are just workhorses, as you probably already know. Getting back to the lenses, as I said, I am used to shooting on primes exclusively. These include the Canon CN-E, ZEISS CP2 and Rokinon XEEN, as well as some more budget lenses like the Rokinon VDSLR and several stills lenses, which as you may imagine include the Zeiss Otus, Canon L series and Sigma Art series. There are a few good stills lenses for shooting video, but the problem is always ergonomics. The focus throw is just too short, and there are no focus hard stops or distance markings on the housing. You can forget about all those issues with the new Sigma Cine High Speed Zoom line. You really get the feeling of holding a big-budget cinema lens in your hand. But why exactly would the new Sigma High Speed Zoom line be of any interest in a market where Canon and ZEISS rule the stage? The first reason could of course be price. For the price of one of the zooms, around $4,000, you can get a single ZEISS CP2, for instance. If the Sigmas are cheaper, it is only in terms of budget, but certainly not as far as image quality is concerned. I had never tried to compare a zoom lens against a prime, but I can say I’ve never seen such a sharp lens that was so good at handling flares, ghosting and chromatic aberration, and all of that in a zoom lens and wide open at T2.0. You are probably already aware of the impeccable image quality that Sigma has been putting out with their Art series. The Sigma Cine High Speed Zoom line features the same glass and design. Interestingly, I’ve never seen such a perfect circular bokeh from a lens in a price range under $12,000. However, it is not just the bokeh that blows me away. When stopping down to T11 or beyond, you get the kind of starburst effect you normally only see on expensive Cooke or ZEISS lenses.  Shooting on a RED EPIC-W in 8K or 6K mostly at 100 frames per second, I really need lenses that are capable of holding up image quality at those kinds of pixel ranges. This means being able to shoot a 32MP, 8K image and be able to crop in 400% in post. Cropping 400% means you are still left looking at a native 4K frame out of my 8K footage. You won’t be able to do that on any other lens in a competitive price range – these lenses are really ultra sharp and I can’t imagine shooting on anything else until I have the budget to get lenses above the $30,000 mark. To summarise, I never expected to be satisfied shooting with a zoom lens, but that is exactly what happened. I am still waiting to get my hands on the Sigma Cine Primes as I’m excited about that extra stop between T2.0 and T1.5, full frame coverage, less focus breathing and the resolving power of a prime lens. However, I am still going to buy that 18-35mm T2.0, as this makes things a lot easier, especially when you are shooting documentary and don’t have the time to change lenses. Sometimes you just need to be ready to shoot whats in front of you, and having a variable focal length is a blessing.  This lens also makes total sense for shooting on a gimbal, mounting on a drone or a car rig where you don’t have easy access. Throw a second motor on there and you can remotely control focus and zoom, which means you can get different focal length shots almost instantly. Imagine having the drone in the air above a mountain top, getting your wide 20mm scenery shot at 8K, and then moving onto a 35mm, shallow-depth-of-field rotating shot around a cyclist. That is what I would call great comfort and efficiency. The film featured in this review is Climb Every Mountain, is produced by the Austrian producer and director Hannes M. Schalle from Moonlake Entertainment, and will air on ServusTV on 21st December 2017. You can find out more about it HERE. You can also see the teaser trailer below.

The popular and inexpensive Sony SELP18105G has received a firmware update to improve focus performance. The Sony SELP18105G has been a popular all-round lens among both photo and video shooters getting started in the Sony E-mount crop-sensor system. While the zoom doesn’t provide the image quality and features of some of its bigger, more expensive siblings like the Sony FE PZ 28-135mm f/4 G OSS for full frame or even the APS-C Sony E PZ 18-110mm f/4 G OSS Lens, for around $600 you can still get a workhorse lens that offers a very usable range, constant aperture of f/4, image stabilisation and even a zoom rocker. For this reason, it is quite common to see it paired as a kit lens with cameras like the Sony a6500 or the Sony FS5. The Sony SELP18105G on the FS5 Sony has just released a firmware update for the SELP18105G aimed at improving its focus performance, giving you yet another reason to consider picking one up. The official word from Sony is that this update will “provide improvements to the focus tracking accuracy and stability”. Sony may not be the most reliable of names right now when it comes to firmware updates, though, after they recently decided to pull the download of the latest firmware update for the Sony FS5 after some issues with the new HDR function. Fortunately, at least the update process is a lot easier than with third-party  lens manufacturers, as you don’t need to purchase an extra dock to implement new software. You can carry out the firmware update for the SELP18105G through supported cameras, which however exclude the The NEX-5, NEX-3, NEX-C3, NEX-VG10 and PXW-FS7. You can find the firmware update and installation instructions for the Sony SELP18105G here. Do you use the Sony SELP18105G for professional use? Let us know your impressions of the lens after updating the firmware in the comments below.

In this Canon 18-80mm review I’ll be finally taking a look at Canon’s compact servo video lens. It is one of only a few such lenses made for large-sensor cameras, has a “cine” touch with autofocus functionality and could be a very useful asset for many large-sensor shooters. Canon 18-80mm Review – A Compact Servo With a “Cine” Touch Back when the Canon CN-E 18-80mm T4.4 Compact-Servo Lens was announced in 2016, many large-sensor video shooters had their eye on it as it seemed to combine the lightweight design of photo lenses with some “cine” properties and offered a zoom rocker, all at a relatively affordable price. Later we noticed that this lens, marketed as a “cinema zoom lens”, had no hard stops, making it quite hard to use as an actual “cinema lens”. But regardless of the “cine” labelling, this lens still looks pretty interesting for many large-sensor shooters, so I took it for a test drive to the park (see video with test shots above) and put it on the test bench. Canon 18-80mm – Most Important Features at a Glance: 18-80mm zoom range (4.4x ratio) Constant aperture of T4.4, equivalent to F/4.0 Minimum focus distance: 1.6′ / 0.5 m Optical Image Stabilization Manual smooth iris Auto Focus / Manual Focus (no hard stops) Powered through lens mount or connector (works with Sony Cameras) Compatibility with FS7/FS5. The 18-80mm Canon lens + metabones adapter works with the FS7 zoom rocker and also supports iris control. Filter: 77 mm thread for screw-in front filters (I used a Vari ND filter for my test) Weight: 2.6 lb / 1.2 kg Length: 7.2” / 182.3 mm Servo handgrip: included and easily detachable Back focus adjustment Super 35mm sensor coverage My Canon 18-80mm Review was shot with a Sony a6300 Camera Hands-On Experience with the Canon 18-80mm Compact cine lenses are awesome. In my book, the Canon 18-80mm already has a plus, just because it is so small, lightweight and thin! In terms of size, it is comparable to the FUJINON MK Cine Lenses. I recently reviewed both the FUJINON MK 18-55mm and the MK 50-135mm. By now I think I have tested all compact and “affordable” cine/video lenses on the market, and this field is still very young. Manufacturers are only now slowly starting to realize that photo lenses simply don’t cut it for most large-sensor shooters, and that we need video equivalents with a large-sensor coverage. In the case of the Canon 18-80mm, it works with Super 35mm and APS-C sensors, and I used it on my small but capable Sony a6300 to put it to the test. Unfortunately I didn’t have much time, so this test shoot was not as elaborate as some of my previous ones. I had, however, worked with the lens on a different project before, so I already had a pretty good idea of how well it performs. The focal range of 18-80mm is the first thing you should bear in mind when considering this piece of kit. Sony offers a 18-110mm lens that arguably has the best range in this field. However, one should keep in mind that the change in field of view is exponential, so the gap between 81 and 110mm on the Canon lens is not as large as it appears. During my shoot, for example, I noticed that I was able to zoom in more than I expected. In practice, the 18-80mm range is limiting, but does offer an extra tele “touch” when compared to a lens like the FUJINON MK 18-55mm for example, and is definitely very convenient to use this lens as a wide-angle and mid-range zoom. The Servo For me, the servo is the biggest thing about this lens and it is a delight to use. Not only does it allow you to get a nice grip on your lens (and in my case also the camera, seeing as the Sony a6300 I used is so small), but it also has a smooth motor that lets you control your focal length much more precisely and quickly than with any other lens at this size and price. In comparison to the Sony 18-110mm Cine Lens (Review Here), Canon’s servo feature is in a different class entirely. The Sony only has a miniature zoom rocker and offers less precision. In terms of speed, the servo of the Canon CN-E 18-80mm T4.4 gives you a large amount of control. You can quickly zoom in, get your focus and zoom out, as it holds focus at any focal length just like cine and video lenses should. In terms of smoothness, I must say I did expect a little more. I felt the servo of the Canon 18-80mm had fewer steps of speed than professional and more pricey video zooms. During the last test shot in my video, I zoomed in and out on that tree and as you can see it was a bit hard to get a completely smooth zoom. I would not use this lens in a broadcast environment where smooth zooms are sometimes crucial. Servo Cable of the Canon 18-80mm T4.4 obstructing and being stressed when the camera is on a flat surface. Another thing that bugged me about the servo is the cable that connects to the lens. It sticks out and points down right into my wrist. After only a few hours of shooting with the lens I already had a bruise. Another downside of this design is that the connector is the main point of contact when I put the lens down on a flat surface. This is especially true when the lens is used with a small camera like the Sony a6300. Zacuto sells a solution to this problem –  the Zacuto Right Angle Extension Cable – but in my opinion they ask for a ridiculous amount of money for it. If the cable is a problem for you, another solution would be to simply have a right angle connector soldered onto the lens. If you don’t need the grip, note that it can easily be detached. Unfortunately, a tool is necessary to move or even reposition the grip. Cable that connects the servo with the lens, sticks out into the wrist. Another positive thing to say about the servo is that it works with Metabones adapters on Sony cameras and gets power through the lens mount. All in all, I really like the servo on the Canon 18-80mm T4.4 and the convenience of it alone is a reason to get the lens, even though it might not be up to broadcast standards. Autofocus & Cine Lens Gears The Canon 18-80mm T4.4 has a gear ring for focusing with a follow focus or remote focus, but lacks hard stops just like with traditional Canon photo lenses. Video shooters and cinematographers alike will have a more difficult time controlling focus, especially when using focusing tools. One could argue that the lens is not intended for cinema applications – frankly I find the lens is a great option for single shooters, a setup which rarely requires a follow focus. However, marketing the lens as “cine” can be misleading for customers and I am not a fan of that. According to Canon, they had to incorporate soft stops on the lens in order to achieve the much-applauded Dual Autofocus functionality. I must mention that the Canon Dual Autofocus system has impressed us and really makes autofocusing an option in the world of large sensor shooting. For many, myself included, the tradeoff with the hard stops is acceptable as long as we are aware of the lens’ limitations. Optical Quality For my Canon 18-80mm review I grabbed our test chart and took some shots that I compared to the Sony 18-110mm F/4 lens. I noticed that the Canon seemed to have good optical qualities altogether, both in these test shots as well as in my short video. I noticed very little chromatic aberration and, as far as I could tell, the lens had a little less sharpness in the corners compared to the Sony 18-110 (without digital optimization), but it was still ok in my book. There is one aspect in which, in my opinion, the Canon falls short in comparison to the Sony 18-110: the Sony offers in-camera optimization which basically entirely removes the optical flaws of the lens. This is a killer feature. On the other hand, the Sony lens cannot be used on Canon cameras. Canon 18-80mm Review – 200% crop from a 4K image. Upper right-hand corner. Canon 18-80mm Review – Distortion and Vignetting at F/4.0 Distortion appeared stronger on the Canon than on the Sony, although I had disabled Sony’s digital optimization feature for my test shots. The Canon also seemed to exhibit more vignetting. I would say the distortion on the wide end is comparable to the FUJINON MK 18-55mm, although the problem of the FUJINON is that it distorts strongly in the opposite direction as soon as you start zooming in. This is not as pronounced on the Canon 18-80mm T4.4 (see screenshot below). Canon 18-80mm Review – Lens @ 35mm F/4.0 (ISO 1600) The optical verdict of my Canon 18-80mm review is that this is a good lens for 4K applications. I did not notice any major flaws and, on top of that, I did not notice any breathing. See my test video where I took some shots to emphasize that. Another great thing about the Canon is its minimum focus distance. Although there is no macro, a distance of  1.6′ / 0.5 m at 80mm allows you to get some decent close-up shots. I was surprised at how close I could get to the bees in my test video. The Sony 18-110mm F/4.0 lens is less convincing in this regard with its 0.95m minimum focus distance (Review Here). Optical Stabilization This is a good lens that I want to like, but the optical image stabilization of the Canon 18-80mm T4.4 doesn’t do it for me. It looks just like the stabilization you get on some Canon photo lenses, where the movement does not appear natural. I think this becomes apparent in my test video in the wide shot at 0:40, which I shot entirely handheld. The biggest problem for me is that the rotation axis is not stabilized well – if at all! – thus resulting in distracting mini rotations in almost every shot. For a lens that costs over $5,000, this is a bit upsetting. There are three optical stabilization settings (A, B and C). It seemed like mode B and C are simply weaker. I used mode “A” for my test video, but if I use this lens on future projects I will be leave image stabilization off. Canon 18-80mm Review – Conclusion The Canon CN-E 18-80mm T4.4 Compact-Servo Cinema Zoom Lens is a very interesting lens. The idea of combining cine properties with the strengths of photo lenses to give you a lightweight and compact solution with a full servo grip is a great approach. Also, right now it is the only “cine” zoom of this type and price for Canon cameras. When I started my Canon 18-80mm Review I think my expectations were a little too high. In my opinion, this lens has little “cine” about it (especially due to the lack of hard stops), so I will simply call it a lens with a”cine touch”. It is clearly a video lens that has inherited a few features from broadcast zooms thanks to its full servo grip. BUT, the grip is a delight to use. I wish I had something like that on all the lenses I use, and it is definitely the one reason to get the lens as it adds so much more convenience and improves ergonomics a lot. If you have no other grip solution, or if you want to revive your DSLR or mirrorless camera, look at the Canon 18-80mm T4.4. Even though the motor smoothness seems a little basic, I think the advantage of precise zoom rocker control can make a huge difference on documentary style productions. Putting aside that the optical image stabilization is not the kind I would use on my projects, overall the lens offers a good balance between performance and size. If you’re struggling with photo lenses, you should definitely try the Canon 18-80mm T4.4 and experience the difference it makes. The price of over $5,000 may not make it a very attractive proposition for everyone but, if you can afford it, the Canon CN-E 18-80mm T4.4 Compact-Servo is definitely worth considering and we welcome it to the very small family of compact video lenses for large sensor cameras.

The new Macro adapter from Lindsey Optics aims to bring high-performance macro to some of the high-end cinema glass offerings in the market. We met Dwight from Lindsey Optics at Cine Gear Expo 2017, and he showed us their new Macro Lens Attachment Series – macro adapters in +1, +2 and +3 strengths designed to work with the ZEISS Compact Zooms, Ultra Primes, Schneider Xenon and Xenar, Cooke 5i, with future plans to adapt to S4, Leica and more. The series consists of the various adapters that work with each particular lens model, as well as a 3-element lens designed to very high standards. This high quality, for example, allows the ZEISS zoom to remain par focal with the Lindsey Optics adapter on, as you can see in the demonstration above. The +1 strength lens sits at the top of the the set in terms of resolution, capable of resolving 200 line pairs per millimetre across a full-frame sensor, something that Dwight from Lindsey Optics says no one else is doing right now. The +2 and +3 fall slightly behind, with 130 and 100 line pairs per millimetre respectively. As a reference, the sensor on the ARRI Alexa can resolve 65 line pairs per millimetre. As mentioned before, one of the biggest strengths of this macro adapter is to keep focus throughout the zoom range when using a zoom lens, so basically all you have to do is focus once and then change perspective as needed. Another nice effect when using this macro adapter is to gain “minimum focus distance”, meaning, the adapter will improve the minimum focus distance of every lens it is being used on. So far, it seems the Lindsey Optics macro adapter will work just as well with primes as with zooms, as long as the diameter of the lens doesn’t go beyond the 90-110mm ball park, and the focal length stays approximately within the 35mm to 100mm range. Each lens will sell for $2,100, with each individual adapter necessary to use it on the different compatible models coming in at $98. The system will be available from August. For more information, make sure to visit their website. Has Macro shooting tickled your fancy yet? Let us know in the comments!

In this episode of On The Go we talk to eminent lens connoisseur Matthew Duclos from Duclos Lenses, and his Chief Engineer Alex Nelson. The last year or so has seen the emergence of a variety of affordable cine optics – at least relatively affordable in terms of what is usually the norm for these kinds of lenses. Be it primes or zooms, there are now a wide range of options available for only a few thousand dollars –  a kind of supply that was unthinkable just a few years ago. But what caused this kind of shift in the market? Matthew Duclos, Chief Operating Officer of one of the most renowned lens service and rehousing companies in Hollywood, tells us his thoughts. We also talk about the latest announcement by ZEISS, the new CP.3 range of prime lenses, their unique implementation of metadata workflow, and their mechanical design that draws from some of ZEISS’s most desirable lenses. Get ready to geek out with some lens talk in a convertible, on cinema5D ON THE GO! Please visit our sponsors’ websites to keep new episodes of ON THE GO coming! TILTA Blackmagic Design FUJINON G-Technology Watch previous episodes of ON THE GO (& On the Couch) by clicking here. Visit our Vimeo and YouTube playlists, and subscribe to the podcast on iTunes!

This new firmware update for Sigma lenses introduces some performance improvements that are particularly useful for video shooting. The update, which Sigma released last week, targets a selection of their EF mount lenses, namely the Sigma 17-70mm F2.8-4 DC MACRO OS HSM Contemporary, Sigma 18-200mm F3.5-6.3 DC MACRO OS HSM Contemporary, Sigma 18-300mm F3.5-6.3 DC MACRO OS HSM Contemporary and the Sigma 24-105mm F4 DG OS HSM Art. This firmware update for Sigma lenses — which you can carry out via the Sigma USB Dock — improves auto-focus performance when shooting video or on Live View mode on Canon DSLRs. In addition, the update reduces the noise of the diaphragm blades when adjusting the aperture, resulting in less obtrusive audio when recording with an on-camera mic. It also makes the lenses fully-functional with the Canon C300 Mark II. The performance improvements are not limited to native use in Canon cameras, but extend to adapted use in Sony E-mount cameras when using the Sigma MC-11 EF-E Mount Converter. The Sigma MC-11 Mount Converter Please note that firmware on both the Sigma USB Dock and the Sigma MC-11 EF-E Mount Converter also need to be updated before updating the lenses themselves. In addition, another recent firmware update for the E-mount Sigma 30mm F1.4 DC DN Contemporary enhances performance when used with the Sony a6300. Specifically, it improves peripheral performance, namely brightness correction at f/1.7 and autofocus. The Sigma Global Vision lenses have been very well-received among video shooters, particularly the APS-C Sigma 18-35mm f/1.8 Art and Sigma 50-100mm f/1.8 Art whose optical design, along with that of other primes in the Art line and the full-frame Sigma 24-35mm f/2, recently graduated to the new range of Cine lenses from Sigma. For more information regarding the firmware update and details regarding each lens, follow THIS LINK to Sigma’s website. Do you use Sigma lenses with your EF or E-mount camera? Will this update enhance your setup? Let us know in the comments!

The conveniently-named Sony E PZ 18-110mm F/4 G OSS lens has been on our radar ever since it was announced in September, as it is one of the only lenses of its kind made for large sensor video cameras. In my Sony 18-110mm review, I will be looking at all the benefits and limitations of this lens. See the video review summary above, or read on for the details. Sony 18-110mm Review When looking at the new Sony E PZ 18-110mm F/4 G OSS, it makes sense to first look at its predecessor, the FE PZ 28-135mm F/4 G OSS (Review HERE). Back when Sony introduced their first lens in this series, it was the only “affordable” video lens made for large-sensor cameras with video functionality. Unfortunately, some aspects about it were not ideal: while it gave us a great focal range on full-frame cameras like the Sony a7S and Sony a7S II, the field of view was too narrow on crop sensor cameras (super35) like the Sony FS7, which it actually shipped with as a combo package. Also, the electronic zoom functionality was a big downside for many. Fast forward to 2016 when Sony introduced the E PZ 18-110 F/4 G OSS, the subject of this 18-110mm review. Tailored to super35, it introduced a manual zoom functionality alongside several other improvements. Now this lens is finally on my desk and, even though the Sony FS7 is out for a shoot, I have no reservations to slap it onto our Sony a6500 to take it for a spin. First Impressions As mentioned in the 18-110mm review video (see above), we took this lens to Las Vegas for our NAB coverage and used it to shoot some of our videos. I’ve spent a number of days with it, and by now I can safely say that I really liked working with it and look forward to using it more. Not only is it easy to handle and favours most of my shooting needs, but when viewing the footage I found that the 4K image this lens delivers is really outstanding. As seen in my a6300 vs a7S II test (same sensor and image quality as a6500) the image quality of this little camera is impressive, so it was the right choice for my Sony 18-110mm Review. Lens Quality Sony’s integrated lens compensation functionality really gave the full-frame Sony FE PZ 28-135mm F/4 G an edge over other lenses in my review, as its communication with the camera means the lens’ defects are immediately corrected in-camera. The same is true for the new Sony E PZ 18-110mm F/4 G OSS, which delivered quite clear and undistorted 4K footage, even at F/4. Here’s a screenshot of the lens at 18mm and F/4 and with lens compensation disabled: Sony 18-110mm F/4 @ 18mm F/4 | Lens Compensation: Disabled Even at the small web resolution of the image above, we can already spot some chromatic aberration and pronounced distortion. It seemed to me like 18mm is really where the lens performs at its worst. Unfortunately, I didn’t have a chance to take a second shot of the chart with lens compensation enabled. Judging from my experience shooting outdoors though, I believe that most defects completely disappear with Sony’s digital correction. Here are two stills of my outdoor shot with lens compensation on and off: Sony 18-110mm | Lens Compensation Enabled Sony 18-110mm | Lens Compensation Disabled In terms of build quality, the Sony E PZ 18-110mm F/4 G OSS seems quite robust. While I don’t think that it is made of metal, it has a compact, self-contained design that has weather sealing and appears reliable. The lens construction allows you to zoom in and out without a shift in focus point – an essential benefit over many photo lenses. In my video review I say it’s “parfocal”, but I was told the lens only achieves the stable focus via electronic servos, so in all technical correctness, “parfocal” is the wrong term. On top of that, the design of the internal mechanism of the lens minimises focus breathing, focus shifting, and other anomalies that would otherwise be noticeable when adjusting the lens during recording. In terms of optical quality, Sony really takes a completely opposite approach to other high-end cine glass manufacturers. While cine glass is made to optical perfection in manual mode, Sony’s design is based on all sorts of digital science and electronics to counteract optical flaws. Deciding which approach is the “the right one” might be debatable – I can see how cine glass fans despise the digital methods of improving a lens. At the end of the (shooting) day, though, I think many people will simply appreciate the quality they see on the screen. After all, analogue is on its way out, isn’t it? Usability In my 18-110mm review video I mention the manual zoom functionality – a great improvement that works very well. What is also new is the option to reverse the zoom not only electronically, but also mechanically. I was very surprised to see this. If you’re used to rotating your zoom in a particular direction, and irritated when using lenses that zoom the opposite way, then this feature is for you. Switch to reverse the zoom direction on the Sony E PZ 18-110mm F/4 G OSS Lens The electronic servo zoom is nice to have, but to be honest, it is not smooth enough – the flimsy built-in rocker didn’t let me achieve a single zoom I felt was usable. While it may work for fast-paced news stuff, if you want to make sure that the viewer forgets the camera then you may need to look at a different zooming option. Move the focusing ring to switch between autofocus and manual focus The lens has built in autofocus and also gives you the option to switch to manual focusing, just as with the previous lens model. The focus ring itself has built-in cinema-standard gearing (MOD 0.8) for follow-focus tools, which is new in this lens and frankly an essential attribute if you want to call your lens “cine”. Detachable quick release tripod mount shoe Underneath the lens is a new detachable quick release tripod mount which is a much better solution than that on the 28-135. The front of the lens features a cine lens support – needed when the lens is used with follow focus accessories. Lens Support with 1/4″ thread The lens also comes with a front cap (an accessory that was lacking in the 28-135) as well as a sun hood that I did not use during my review. It might be worth mentioning that the lens is compatible with Sony’s 1.4x and 2.0x teleconverters. [UPDATE: I was informed that the compatibility to teleconverters was cancelled by Sony shortly before sales started.] Unfortunately, I found the lens’ minimum focusing distance of 0.95m (37.4″) very inconvenient. I wish Sony had improved this point over their first G lens, but it was not the case. There is one way to achieve a slightly closer minimum focusing distance: switching to autofocus when close focusing at the wide end. Sony made sure this information is cryptographically secured on the front of the lens, where it says: “0.40m/1.31ft-0.95m/3.21ft”. Conclusion Whether you’re working in video, cinema or something in-between (as most people do nowadays), I think this lens is really worth a close look. There’s currently no other lens that compares to it in terms of versatility, price and physical design. Furthermore, I found the optical quality achieved in tandem with Sony’s internal electronic solutions and automatic lens compensation to be really impressive. Even though you could simply adapt a lens like Canon’s 18-80mm, or use an entirely manual lens like the Fujinon 18-55mm, the Sony E PZ 18-110mm F/4 G OSS will probably always give you better quality, simply because it is built for their own cameras with the digital in-camera improvements. That said, both the close focusing limit as well as the flimsy electronic servo zoom functionality could still be improved to make this lens perfect. Maybe in the future Sony will overhaul this lens one more time. Until then, I believe that this lens is one-of-a-kind in terms of versatility and could find its way into many shooters’ standard video and cinema kits. It will certainly work for me on many shoots. Pros and Cons I found during my Sony 18-110mm review: Pros Stunning 4K at F/4 – Very good optical quality with Sony cameras due to lens compensation No focus shift during zoom Lens elements are internal Almost no breathing Manual operation of focus, zoom and aperture Good optical image stabilizer Quick-release tripod mount is convenient Cinema-standard gearing on focus ring Lightweight and robust Very small in comparison to other lenses with similar functionality Cons Near limit of 0.95m (37.4″) is very inconvenient Servo zoom rocker is flimsy and not smooth enough I hope you liked my Sony 18-110mm Review and that it was helpful to you. If you have any questions or thoughts please let me know in the comments. The Gear I Used Because so many people ask which equipment we use and why, I’ll take this opportunity to share my gear list. Another reason is that I really enjoyed working with this small package of great gear, which for me is the best affordable way to shoot high quality 4K right now: Camera: Sony a6500 (small, affordable, high quality 4K, not so good in HD, no heaphone jack, strong rolling shutter) Lens: Sony E PZ 18-110mm F/4 G OSS Monitor: SmallHD FOCUS (I really enjoyed working with this one. Due to its high bright display I could see the image clearly in bright daylight. It’s lightweight and the included mount is wonderfully convenient) Audio: Saramonic SmartRig2 (gives me XLR audio and a headphone jack for monitoring) Microphone: As needed Cage: LockCircle a600 (to mount the XLR adapter and a microphone I didn’t use the cage when working with audio on this camera because we had a wired XLR microphone for our NAB coverage and went with the Sony XLR-K2M instead. During the yard shoot, I simply took the lens with the camera, the SmallHD FOCUS monitor and a tripod.