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Samyang/Rokinon 35mm and 85mm lens test

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peter dalby

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Yep I know, Im not the first, but I was so impressed with how well my brand new Samyang 35mm and 85mm primes did in 5K on my EPIC. I shot it in RedLogFilm, all natural light and just added a FUJI3510 LUT in Resolve. No sharpening has been added at all. I must say that compared to the price, it is a couple of fantastic lenses. Sorry for the boring footage ;-)


https://vimeo.com/77692232

All the best

Peter
Præferencer


Præferencer
 
I bought 24, 35 and 85 just as soon as I saw first comparison test with the new Canon and Zeiss CPs. And I never regret it!

If you buy them carefully choosing the ones that match, I believe it wins the best bargain prize! I see nothing to compare to in this price range, actually. Descent, light weight, manual/geared like it should be, inexpensive. Only two downsides: sharpness comes from around T2.1 and it breathes quite a bit.
 
I shot a corporate gig last week on my Rokinon 85mm at 2.8 and was really impressed with the image. I have the 35mm and will likely pick up the 24 based on the performance of the 35 & 85. Lets hope they come out with a 50 to complete the set.
 
Ted Parkes said:
I shot a corporate gig last week on my Rokinon 85mm at 2.8 and was really impressed with the image. I have the 35mm and will likely pick up the 24 based on the performance of the 35 & 85. Lets hope they come out with a 50 to complete the set.
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I believe the 24 is the weakest of the bunch. But a new 50 would be nice.
 
There will be no 50 this time, as I know...

I'd rather ask for wider end like 14 or 16 but with 5K coverage and 2.8 aperture. That would be really nice, but unlikely...
 
A 50mm is definitely in the works.

Samyang-50mm-f1.2-lens.png
 
Does anyone else find the 85mm renders a lot of red in the image? I shot an interview using 2 Canon 60D's with the exact same settings, I had a Canon 24-70mm II on the wide camera and the Rokinon 85m 1.4 on the tight camera.

I was kind of shocked at how red the footage was with the Rokinon. It was easy to grade out but I was wondering if it was just my copy or if all of the 85's render a red image.
 
The 24 is by far the weakest. The 35s performance matches lenses 4X its price at 2 and above. Pretty amazing value. A 50 would be nice at this price point to round out the set.

On a completely seperate note, I just found some old lens elements that I removed from a lens as a kid to burn holes in leaves with. I cringe to think that it might have been a nice classic lens that I destroyed. I wonder if Duclos could rehouse them ;D
 
Greg McDonald said:
Does anyone else find the 85mm renders a lot of red in the image? I shot an interview using 2 Canon 60D's with the exact same settings, I had a Canon 24-70mm II on the wide camera and the Rokinon 85m 1.4 on the tight camera.

I was kind of shocked at how red the footage was with the Rokinon. It was easy to grade out but I was wondering if it was just my copy or if all of the 85's render a red image.
Click to expand...

Hm I just got done with a gig using the Canon 70-200 and the Rok 35. I'll keep an eye out once I start editing to see if I see the same thing with the 35.
 
Just to echo what everyone else is saying, I used Bob's 35 and 85 and even wide open their sharpness is just incredible (there are other artifacts wideopen, but the sharpness remains.) I've used a 24 and found it lacking compared to the others. My thinking is, the Sigma 18-35 t1.8 + 35, 85 Rokkies, would be a pretty great/cheap combo that is in "fast-glass" territory.
 
I too Think the 85mm renders a little reddish, but as you said, it Can easily be removed. A 50mm would be perfect, look forward to it. I also bought the 14mm but have not yet tried it on the Epic. Hope it holds well...
 
Totally agree on the value.
I meant new 16mm lens will not cover 5K. 14mm is too dark to fit in the row. So as many of you, I am really interested in "super speed" 14 or 16mm and especially 50mm-essential.

Bob, thanks for the news about 50/1.2 been developed. That would be great! It's gonna be an outstanding set for it's price!

EDIT: About colour shifts: First I got myself 85mm to play with. The very next day I gave a call to sales rep and told that I want them all. The answer was basically two options: (a) to come to the shop with my 85mm and choose the matches from the stock, or (b) to make a "blind date" - shipping them to my workshop instantly, get all the tests and swap the ones that do not match. I got option B and luckily it all went fine from the first attempt. But they told me that it was a 50/50 chance of success. I think the most challenging one to match is 14mm...
 
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Serge Tsipis said:
Totally agree on the value.
, get all the tests and swap the ones that do not match. I got option B and luckily it all went fine from the first attempt. But they told me that it was a 50/50 chance of success. I think the most challenging one to match is 14mm...
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Match ? how do you match it ? what exactly does it mean ?
sorry for being amateurish.

I am looking to purchase a set for myself. Cine lenses. How to match and purchase ? Pls enlighten me .
 
I actually have to say that even so I bough them to just laugh at every one speaking good things about this lenses, I was pleasantly surprised.

It's just that seemed impossible that for such low amount of money you could get such a great glass, again giving the ridiculously low cost of them.

But while they are indeed great, they do not belong in professional environments with a Pro crew on paid jobs, at list not IMO.

That is why I am selling, and I have actually decided to go back solely to PL cine lenses all together, as it just makes things a lot simpler and no more swapping Mounts on locations to use the different lenses.
 
KETCH ROSSi said:
I actually have to say that even so I bough them to just laugh at every one speaking good things about this lenses
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Nice state of mind ....
But fortunately that's not the reason. Quoted from you, concerning the rokinon set: "Still at the end, I am apply surprised that such extremely cheap lenses do so well, and that is a good thing, a very good thing, since right now I can't afford to use anything else".
That state of mind you often have ketch (thinking that only a few expensive cameras and sets of lenses are capable to make some movies professionaly) is the plague of many semi professionals and cinema students. At the end they are all using the same tools, the same techniques, the same rules, and they are making the same boring movies like sheeps. Genius and creativity is about f**king the rules and do differently than others. Any big name director with a c300, bmcc and rokinons would still make fantastic movies, any shitty director with a alexa, an epic dragon and PL cinema lenses will still make shit.
 
sam karr said:
Nice state of mind ....
But fortunately that's not the reason. Quoted from you, concerning the rokinon set: "Still at the end, I am apply surprised that such extremely cheap lenses do so well, and that is a good thing, a very good thing, since right now I can't afford to use anything else".
That state of mind you often have ketch (thinking that only a few expensive cameras and sets of lenses are capable to make some movies professionaly) is the plague of many semi professionals and cinema students. At the end they are all using the same tools, the same techniques, the same rules, and they are making the same boring movies like sheeps. Genius and creativity is about f**king the rules and do differently than others. Any big name director with a c300, bmcc and rokinons would still make fantastic movies, any shitty director with a alexa, an epic dragon and PL cinema lenses will still make shit.
Click to expand...

true.
 
sam karr said:
Nice state of mind ....
But fortunately that's not the reason. Quoted from you, concerning the rokinon set: "Still at the end, I am apply surprised that such extremely cheap lenses do so well, and that is a good thing, a very good thing, since right now I can't afford to use anything else".
That state of mind you often have ketch (thinking that only a few expensive cameras and sets of lenses are capable to make some movies professionaly) is the plague of many semi professionals and cinema students. At the end they are all using the same tools, the same techniques, the same rules, and they are making the same boring movies like sheeps. Genius and creativity is about f**king the rules and do differently than others. Any big name director with a c300, bmcc and rokinons would still make fantastic movies, any shitty director with a alexa, an epic dragon and PL cinema lenses will still make shit.
Click to expand...


Agreed Sam,

Just do not only quote partially, as that is never a good thing as it does NOT represent the entirety of what was said...

Yet that is why I said what I said...

Mostly it is simply do to the fact of been accustom to pay so much for good glass, that such ridiculously cheap glass could not be any good, but yet I did buy them, and I did give them a good shoot, and I in all honesty also posted the very positive that there is about it, as very differently from many, I am NEVER afraid to EAT my own words, and in the name of trying different things and be honest about it, I give them a really good and positive feed back.

And as I said the only reason I find to sale them is to the need of having PL glass.
 
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