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FAST <20mm lenses for Canon EF mount?

Stephen Pruitt

Stephen Pruitt

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Hi all. . .

We're constantly in need of fast glass for our films, but our widest current fast lens is the 24mm f1.4L. Are there any under f2.0 EF-mount wide-angle lenses (wider than 24mm, at least) that really hold up well wide-open in 4K?

Thanks.

Stephen
 
I should probably try that Sigma, but the reports are so darn uneven. A lot of people say it is too soft to use wide open.
 
For whatever reason 20mm and 18mm primes became unpopular in "stills" world during the 80s and 90s. However I adore both lengths on FF35, even though they are pretty wide. Sigma is the fastest still 20mm lens at f/1.8. There's an Olympus 21mm f/2 that's older and considered very compact for what it is and it can be adapted to EF very easily. Other than that it's Canon and Nikon with 20mm f/2.8 and Nikon also has a 18mm f/2.8 as well. Canon is going to expand their Cinema Primes at some point and add a wider lens and longer lens at both ends, but we could be waiting a while. I like faster primes and this has also been sort of a point of frustration for me.

In cinematography PL 18mm is a pretty standard length and their are a few options out there ranging wildly in price. But that's PL and not really EF. I'm putting dough together to get some sort of PL package. RPP are up there on my list as they are pretty much the best bang for the buck.
 
Yeah, but the trouble with those RPP is that they are all really slow for our purposes. I can't tell you how often we have to shoot at f1.2, f1.4, etc.

I'd really like that Sigma 20 f1.4 if it were sharp, but, as noted above, it's probably a non-starter on that score wide-open.

Thanks guys.

Stephen
 
Whoa, James. . . that does look like a nice lens. Can a 4/3rds lens be fitted to a Canon EF mount and actually cover 4K? It if was sharp and would fit, I'd buy it yesterday.
 
You are fighting physics/cost to create wide lenses faster than 2.8.


M
 
We are, indeed, Mark. But I'd be more than happy to pay a "reasonable" amount for a fast f1.4 20mm Canon L-series lens.
 
To get to that speed at that focal, you are in Leica C and Master prime territory. Look at their pricing. Sure they are cine lenses, but to deliver great optical performance at speed you have to have a market willing to pay the freight. Most still photographers can't justify spending that kind of dough... So from a business model perspective it doesn't make sense.

I would just buy a great 2.8 prime and push the ISO a stop or two while reducing compression. Or add some lights:)

Most films were shot at f3.5. - 4 in the "old days". :)

M
 
It's easy to talk about proper lighting when you have a big budget in CA or NY where talent literally runs through the streets. . . or when you're not paying your actors or crew. It's not nearly so easy when you're working in the middle nowhere, actually paying crew with limited experience, and working with a small grip truck in large locations on a small budget ($200,000 for a two hour film).

Lens speed is of great importance to us, but the point is certainly well-taken. There is no question we need to learn more.

Thanks for the suggestions.

Stephen
 
Stephen, at some point I was going to post an article about lighting on the cheap. I only rent lighting/grip/electric when needed and budget applies. There are great deals out there on used lighting instruments if you pay attention. For example... Mole 407 1K Fresnel lights @ around $150 a pop. There is also a big difference in the look of footage shot wide open at f1.4 compared to f2.8 for example. Pop a 50mm lens on a Red One shooting 4K from 10' away and your DOF is just a little over 1 foot. Open up to f1.4 and your DOF is only 6 1/2 inches. A big difference on your 1st AC.
 
The 20mm Sigma can be sharp if you have a good copy. Mine is pretty sharp @ 2.0. I'm happy with it. Im going to be ordering the 24mm L, 35mm L and 50mm L soon, It doesnt match color wise. But it has some unique looks.
DOG4K.jpg
 
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