Justin McAleece
Well-known member
- Joined
- Jan 21, 2007
- Messages
- 807
- Reaction score
- 3
- Points
- 18
- Age
- 47
- Location
- Fresno, CA
- Website
- www.blaremedia.net
I recently used this lens and its 15-40 counterpart for a series of 3 x 60-second high-end commercial spots. I spent most of the time on the 30-90. It doesn't entirely clear the Red Epic Dragon 6K sensor at 30mm, but at 33mm or so, it is fine (depending on your aspect ratio).
The mechanics are top notch and the build quality is stellar as would be expected. The two lenses are of identical length, EXCEPT, the red Super 35 chunk of adapter near the mount is a different length for each lens which means that effectively, they are two different lengths which is quite frustrating for matte box and follow focus adjustments.
The image is BEAUTIFUL with a slightly warm feel and pretty fall-off and good sharpness and some natural vignetting which I prefer.
The geometry of vertical lines is not great. It has a pincushion effect which I do not particularly like. Instead of having typical bulging barrel distortion, it has the reverse feel where the vertical lines on the edge of the frame bend inward at the center height. I'd rather have it be straighter or the opposite. I don't think anyone would "prefer" this anomaly. It's not major on most shots, but it is noticeable.
The other oddity, like other people have mentioned elsewhere, is that the aperture change from T2.8 to T2 is like a quarter of a stop. I did not test it with a meter to make sure that T2 was actually T2, but I know that one of those numbers is wrong. It's weird, I would look at the barrel at 2.8 and want to open up to 2, but it just didn't do much. Really odd and something I'd never experienced with a cinema lens.
It's parfocal which is great. That means I could zoom in or out and it would hold focus.
It's relatively light and small.
One of my favorite things about it - and what separates it from the Sigma 50-100 that I often use - is that it doesn't breathe AT ALL. It's like nonexistent. That was one area where I really felt like I got what I paid for.
Overall, for this project, I was very happy with my choice of lenses.
The mechanics are top notch and the build quality is stellar as would be expected. The two lenses are of identical length, EXCEPT, the red Super 35 chunk of adapter near the mount is a different length for each lens which means that effectively, they are two different lengths which is quite frustrating for matte box and follow focus adjustments.
The image is BEAUTIFUL with a slightly warm feel and pretty fall-off and good sharpness and some natural vignetting which I prefer.
The geometry of vertical lines is not great. It has a pincushion effect which I do not particularly like. Instead of having typical bulging barrel distortion, it has the reverse feel where the vertical lines on the edge of the frame bend inward at the center height. I'd rather have it be straighter or the opposite. I don't think anyone would "prefer" this anomaly. It's not major on most shots, but it is noticeable.
The other oddity, like other people have mentioned elsewhere, is that the aperture change from T2.8 to T2 is like a quarter of a stop. I did not test it with a meter to make sure that T2 was actually T2, but I know that one of those numbers is wrong. It's weird, I would look at the barrel at 2.8 and want to open up to 2, but it just didn't do much. Really odd and something I'd never experienced with a cinema lens.
It's parfocal which is great. That means I could zoom in or out and it would hold focus.
It's relatively light and small.
One of my favorite things about it - and what separates it from the Sigma 50-100 that I often use - is that it doesn't breathe AT ALL. It's like nonexistent. That was one area where I really felt like I got what I paid for.
Overall, for this project, I was very happy with my choice of lenses.
