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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Sony PMW-F3 Kit Lens on Mx

J

Jed Shepherd

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Has anyone used the kit primes that come with the f3 on an mx? Im shooting on a red mx soonish and have the f3 kits lenses available to me. I dont know a whole lot about lenses but i see people asking if lenses cover the sensor etc. So my question is will these lenses work and if they arent complete junk?
 
They will work but I can't comment on the quality
 
I didn't think the F3 kit lenses were PL mount. I thought they were a special Sony mount, and that you had to use an adaptor to mount PL glass on the F3.

In any case, I'm certain the lenses will cover the MX or Mysterium sensor. I've heard that they lenses are good for the price - but not as nice as most other modern PL primes.

If they are PL lenses, I want to know ... because I'll buy the camera and use it for a while with a 17-50 and the kit lenses if that's the case. Its certainly better than a DSLR after all.
 
They are PL And they are ARRI LDS and Cooke i compatible.
Very good image quality. Big but light- plastic barrels. Looks like some high grade tough plastic. No lines for footage marking like the 18-50 RZ.
All and all a good bargain for the price...
 
OptiTek said:
...All and all a good bargain for the price...
Click to expand...

Seen them go used for about $2,000 a lens...what is the issue with the plastic...is it strictly a durability issue or can it impact image performance...?
 
I just did a commercial shoot with the Sony primes and were fine. No, the mechanics are not Zeiss quality but they were not toys. I wish I'd bought the set for my F3.
 
Peter Corbett said:
I just did a commercial shoot with the Sony primes and were fine. No, the mechanics are not Zeiss quality but they were not toys. I wish I'd bought the set for my F3.
Click to expand...

You will be better off spending your money on CP.2 in a Long Run......
 
Matthew, Can you elaborate on your statement?

I do not doubt in a second what are you saying, I just want to know specifics if someone in the future want to use them on any of my gigs.

Thank you in advance.

Matthew Duclos said:
The Sony primes are toys.
Click to expand...
 
Jiri Vrozina said:
You will be better off spending your money on CP.2 in a Long Run......
Click to expand...

Why is that?

Are you talking about resale value?

I don't think you should be buying "economy" PL lenses for resale value. I am looking at them because I want to eliminate rental costs of other better lenses.

Not every job needs a set of S4 or Ultra Primes, much less S5, Master Primes or Summilux C. A lot of jobs could frankly get done on old Nikkor non-AI lenses if all you consider is image quality.

Now, ergonomics enter into this of course. My 1st can more reliably pull with cinema lenses than she can with SLR lenses. So, the day goes faster.

So ... the RPZ 17-50 and the Sony primes seem like a great starter kit. Covering 17-85. Add the Tokina 11-16 and a PL extender or maybe the Duclos 70-200 PL Nikkor seems like a great just past starter kit. (11-170 or 200)

A kit like that might hold me until I can afford some top tier glass like S5 or Summilux C

Getting back to the cheap kit - the Sony lenses are only like $4000 for the set, based on the price difference between the F3 with and without lenses. The Set with RPZ 17-50 is ~$10,000. Compared to renting a set of Ultraprimes on every job I'll be 100% paid off in twenty days.

Paid off ... as in I could throw the lenses away and still be even with where I started. Or I could keep them.

As a rental owner, I can't charge as much for that sort of kit as I can for Compact Primes. Still, If I rent the entire kit for $100/day I pay off in 100 days or so, and frankly you should get more than that. In my market the RPZ rents for $150 per day and Zeiss Standards for $60 per day per lens. So, I think I can rent the Sony+RPZ kit for $200 per day, or a 50 day rental pay off.

If I can't count on 100 days in the service life of some lenses- then I should change careers.
 
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Alexander Ibrahim said:
Why is that?

Are you talking about resale value?

I don't think you should be buying "economy" PL lenses for resale value. I am looking at them because I want to eliminate rental costs of other better lenses.

Not every job needs a set of S4 or Ultra Primes, much less S5, Master Primes or Summilux C. A lot of jobs could frankly get done on old Nikkor non-AI lenses if all you consider is image quality.

Now, ergonomics enter into this of course. My 1st can more reliably pull with cinema lenses than she can with SLR lenses. So, the day goes faster.

So ... the RPZ 17-50 and the Sony primes seem like a great starter kit. Covering 17-85. Add the Tokina 11-16 and a PL extender or maybe the Duclos 70-200 PL Nikkor seems like a great just past starter kit. (11-170 or 200)

A kit like that might hold me until I can afford some top tier glass like S5 or Summilux C

Getting back to the cheap kit - the Sony lenses are only like $4000 for the set, based on the price difference between the F3 with and without lenses. The Set with RPZ 17-50 is ~$10,000. Compared to renting a set of Ultraprimes on every job I'll be 100% paid off in twenty days.

Paid off ... as in I could throw the lenses away and still be even with where I started. Or I could keep them.

As a rental owner, I can't charge as much for that sort of kit as I can for Compact Primes. Still, If I rent the entire kit for $100/day I pay off in 100 days or so, and frankly you should get more than that. In my market the RPZ rents for $150 per day and Zeiss Standards for $60 per day per lens. So, I think I can rent the Sony+RPZ kit for $200 per day, or a 50 day rental pay off.

If I can't count on 100 days in the service life of some lenses- then I should change careers.
Click to expand...

I am not talking about resale value here.
Just saying it is more enjoyable to operate Zeiss CP.2s..they are better made and should last user many years. Sony's Primes are about $2,000 per lens, Zeiss are double.
Sony Primes do not have wide lenses-they need another 25 and 18. They are releasing new Zoom 11-16 T2.8 for $8,000 this year.
I do not believe in mixing up RED Zoom with Sony Primes and Duclos...that's just me. I prefer having one simple set of primes.
Zeiss will release new 15mm and 18mm T2.1 soon .... I hear. If that is the case, Zeiss CP.2 lens set 18,28,50Macro and 85mm....all T2.1 could be a nice set to have for a start.Also CP.2s are Full Frame.
Choice of lenses is a very personal thing....another option could be 2 Optimo Zooms if Speed and Money is no problem.


...........and i almost forgot Ibrahim- ZEISS CP.2s are still designed,made,built,created,hand painted in Germany....:tongue_smilie:

Take Care Mate
 
Jiri Vrozina said:
I am not talking about resale value here.
Just saying it is more enjoyable to operate Zeiss CP.2s..they are better made and should last user many years. Sony's Primes are about $2,000 per lens, Zeiss are double.
Sony Primes do not have wide lenses-they need another 25 and 18. They are releasing new Zoom 11-16 T2.8 for $8,000 this year.
I do not believe in mixing up RED Zoom with Sony Primes and Duclos...that's just me. I prefer having one simple set of primes.
Zeiss will release new 15mm and 18mm T2.1 soon .... I hear. If that is the case, Zeiss CP.2 lens set 18,28,50Macro and 85mm....all T2.1 could be a nice set to have for a start.Also CP.2s are Full Frame.
Choice of lenses is a very personal thing....another option could be 2 Optimo Zooms if Speed and Money is no problem.


...........and i almost forgot Ibrahim- ZEISS CP.2s are still designed,made,built,created,hand painted in Germany....:tongue_smilie:

Take Care Mate
Click to expand...

Well, that makes a different sort of sense. I just found out the Red 17-50 vignettes on the Epic at 19mm and wider - which limits its utility. The F3, if I bought one, would just be a pitstop between DSLR and Epic.

I also have to investigate if the Tokina 11-16 will vignette on the Epic. I thought I had read that it would not vignette on Epic- now I'm not sure again.

I agree that mixing lens types is not ideal, I guess I am just a bit more willing to do so than some.

In any case I'm not interested in glass that will vignette notably on Epic.

The Zeiss CP.2 lenses use the same glass as the Zeiss ZF, which is made in Japan. What I have heard from Zeiss representatives is that "just" the housing is made in Germany, and the whole thing is assembled in Germany as well. Nothing to sneeze at of course, but not quite as good a deal as you imagine.

And please Jiri, the name is Alex
 
Christian Munoz D said:
That is interesting, at the Red store say that works with Epic, Red One and Scarlet!!

http://www.red.com/store/lenses/product/red-pro-zoom-17-50mm-t29-i
Click to expand...

Yes, that is what I understood as well, from the same source.

What I assumed is that Red wouldn't write that there if the lens didn't fully cover the Epic at all focal lengths. I also assumed that would mean no vignetting.

I suppose the lens could vignette, while still delivering an acceptable image for some (or even most) purposes. I mean the kit lens Canon supplies with the 7D (18-135) does vignette after all (as do many other lenses) but in most cases Its not an issue unless you shoot solids that are at least moderately bright.

This is all hearsay though ... but now I am on the lookout for some images of the RPZ with Epic so I can examine its performance myself. It may yet be that the lens performance is acceptable to me ... I can not draw affirmative conclusions without my own tests.

Pretty much the story of all cinematography I suppose.
 
I just ordered the RPZ 18-85. I will check with Red to see if this one have the same problem.
 
If you view the video from NAB with the Sony rep he is very clear that these lenses are really only for the Sony. They do not plan to expand the set in the near future and he was clear that they use software in the camera to correct for CA and distortion issues that are inherent in the lenses. Great price and work great on the F3 but I would not be tempted.

Watch the video interview. Sony rep is very clear on this point.
 
I projected these lenses. There is no more CA than on any modern PL lens. This is not hearsay but a legitimate projection test conclusion.
 
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