Thread: Sigma 18-35mm & 50-100 T2.0 Cine Zoom Lenses

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  1. #11  
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    Thinking about doing Milvus Lenses in Nikon declicked, especially the new 25.
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  2. #12  
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    Quote Originally Posted by Jon Dishler View Post
    Thinking about doing Milvus Lenses in Nikon declicked, especially the new 25.
    Yeah, I can’t buy that 25mm fast enough. Do you think B&H would let me camp out in front of their store to get the first copy?
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  3. #13  
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    Are these light enough to fly on the Ronin 1?
    #MakeItHappen...#ThatFiilmLife

    Ty Hunt
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  4. #14  
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    Quote Originally Posted by Jim Skinner View Post
    I use the photo version (ART version) of the 18-35 and the 50-100 on my cine cameras. If you don’t mind a shorter throw, you’ll have exactly the same glass for 1/3 the cost. Also the filter thread is smaller, so the filters you’ll need are much cheaper.

    I actually prefer the Zeiss Milvus primes, if you are going to deal with the hassle of a photo lens. They are superior to the CP.2 and CP.3 optics, and they just announced a 25mm at 1.4. The Milvus is the undiscovered gem of the cine world. Far superior to the Sigma Art. Edge to edge sharp where the Sigma’s tend to drop off sharpness at the edges.
    Aren't several of the Milvuses the same ZF/ZE optics as the cp2/3s?
    Noah Yuan-Vogel | noahyv.com
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  5. #15  
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    Quote Originally Posted by Noah Yuan-Vogel View Post
    Aren't several of the Milvuses the same ZF/ZE optics as the cp2/3s?
    I should have been more clear in my earlier comment. The Milvus lenses that feature a f1.4 aperture are of a newer optical design. I have the 25mm, 35mm, 50mm and 85mm focal lengths (all at f1.4). In my experience there is a huge difference between the Zeiss lenses rated at f2.8 versus the lenses they produce that achieve f1.4. They were kind enough to release this improved optic into a line that is priced for still shooters, allowing cinematographers on a budget to achieve a fantastic look.

    You should know going in that they all have different thread mounts, so unless you are using a matte box you are going to buy a lot of duplicate ND glass (or, alternatively, you will be continually screwing on adapter rings to one large ND filter, which then makes your lens hoods non-functional, and also exposes you to the risk that your adapter ring melds to the ND filter at a shoot and you actually can’t use it on different lenses). Also, they have a kind of sticky/tactile substance on the focus ring, which gets a little mungy if you shoot in dusty conditions. But what you do get is something close to the look of an Otus for half the price.

    I actually prefer the look of the Milvus 50mm to the Otus 55mm, as that extra reach on the Otus is noticeable to my eye and the Otus is a bit too razor sharp (too clinical). This is just my preference, many people prefer to turn in the sharpest image possible (less complaints in the editing suite later) but I don’t mind burning in a bit of a look into my footage.

    If your budget has you shooting on a Scarlet W or Canon 300 then the Milvus lenses (the f1.4 variants) are essentially perfection. If you have a bigger budget then you have lots of other, far superior options.

    To get a small taste of what the Milvus f1.4 lenses look like try out the Contax or ZE lenses at f1.4. There is a slow progression in terms of coatings and mechanics over the years. The Milvus is the culmination of all that still shooting goodness.
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  6. #16  
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    Quote Originally Posted by Jim Skinner View Post
    If your budget has you shooting on a Scarlet W or Canon 300 then the Milvus lenses (the f1.4 variants) are essentially perfection. If you have a bigger budget then you have lots of other, far superior options.
    I think the Zeiss Milvus and the Sigma Art FF primes (or the cine primes) are pretty close to each other and good enough to shoot 8k even at F1.4.
    The Zeiss Otus lenses are a bit better overall. When you want better optical quality (and a larger range) than the otus you need very deep pockets (and even that might not help in the 28..85 mm range).
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  7. #17  
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    I own both the cine version and still version don't see any noticeable differences at all (supposedly they are same glass different coatings) and prefer using the still less as I shoot run and gun and solo/small team mostly and the cine versions are very heavy in comparison as well as it being easy to nock the aperture ring when adjusting focus and zoom handheld.

    I guess for bigger productions where a full team and using follow focus etc there may be benefits but for me, I would suggest saving your self-thousands of dollars/pounds and invest in the stills version and the sigma 24-70 OS pretty beast set of lenses.
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  8. #18  
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    Looks like, on Gemini, the Sigma 18-35 T2 would be problematic. Gemini, at full 5K, is a tiny bit wider and taller than Helium at 8K.. so I'd expect some vignetting at the wide end.. too bad!
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  9. #19  
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    Quote Originally Posted by Matt Beardsley View Post
    Looks like, on Gemini, the Sigma 18-35 T2 would be problematic. Gemini, at full 5K, is a tiny bit wider and taller than Helium at 8K.. so I'd expect some vignetting at the wide end.. too bad!
    Is it not FF like the Primes?
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  10. #20  
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    Quote Originally Posted by Matt Beardsley View Post
    Looks like, on Gemini, the Sigma 18-35 T2 would be problematic. Gemini, at full 5K, is a tiny bit wider and taller than Helium at 8K.. so I'd expect some vignetting at the wide end.. too bad!
    Quote Originally Posted by BrandonChristensen View Post
    Is it not FF like the Primes?
    The Sigma 24-35 t2.2 is FF, the 18-35 and 50-100 are both S35
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