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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 :)

Sigma Cinema Lenses

Lee Saxon said:
Also I'm quite intrigued that the two f/2 APS-C zooms have high enough transmission to be marked T2 while the 24-35 f/2 has to be marked T2.2. I wonder what that's all about.
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The stills version of the 24-35 is f2, while the 18-35 and 50-100 are f1.8. It's relative.
 
Marcos Montenegro said:
Great news. Having said that, let's wait to see what the price point is going to be, and how they'll handle breathing on the 50-100, etc. Very exiting. I was just about to pull the trigger on the new ZEISS OTUS bundle with gears, so I'll now just wait and see.
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I was also planning to get an OTUS set with CineMod from Duclos, just waiting for my VV sensor to land. Perhaps the next SALT can pit the new Sigmas vs the OTUSs, the Xeens, the CN-Es, the Celeres, etc - using the Zeiss Ultra-Primes as the measuring stick... Evin, Matt U, Matt D, Phil, ???

New manufacturing techniques combined with a large enough potential sales volume is changing the cine lens marketplace. Some of the latest lower cost entrants have been used effectively by skilled shooters. Would love to get some empirical evidence to help sort the wheat from the chaff. Once we know which are contenders - and which are pretenders - then we can proceed to determine which set fits our personal taste and/or the creative intent of a specific piece.

Cheers - #19
 
+1 for A SALT TEAM to sequester during IBC with all requisite glass. Excess salt can be removed using tequila and lime.
 
ill bring the celeres. I wanna get in on that test.
 
This is pretty cool and all but am I the only one more excited about the fact that you can tap electronically into their stills versions with Foolcontrol and RT Motion's latitude system and be done with physical gears? I'm surprised this isn't the natural evolution for cine lenses. Can't wait for the 85mm ART.
 
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Is it changeable mount or you buy the set and done-ski? Also have they said how long the focus throw is?

I'm gonna wait for the price before I get too excited...
 
Ryan Sauve said:
This is pretty cool and all but am I the only one more excited about the fact that you can tap electronically into their stills versions with Foolcontrol and RT Motion's latitude system and be done with physical gears? I'm surprised this isn't the natural evolution for cine lenses. Can't wait for the 85mm ART.
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Agreed but that's only for RED cameras. Nice thing about the these cine style lenses are they are ready to go for any camera with proper mount. C300, FS7/speedbooster, Amira, 5DIV, RED, ....

Also note there will be certain mechanical improvements in these cine bodies (parfocal, less breathing?).
 
Ryan Sauve said:
This is pretty cool and all but am I the only one more excited about the fact that you can tap electronically into their stills versions with Foolcontrol and RT Motion's latitude system and be done with physical gears? I'm surprised this isn't the natural evolution for cine lenses. Can't wait for the 85mm ART.
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I agree, if the glass is truly the same, for solo shooting on RED, the stills version is still a good choice.
 
Ryan Sauve said:
This is pretty cool and all but am I the only one more excited about the fact that you can tap electronically into their stills versions with Foolcontrol and RT Motion's latitude system and be done with physical gears? I'm surprised this isn't the natural evolution for cine lenses. Can't wait for the 85mm ART.
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I think they only pass data. So, Fool Control can't do much with these. Unless I'm reading this wrong.
 
Regarding the image circle, the 18-35mm and 50-100mm are stamped with a 28.4mm diagonal. That likely covers nearly all Super 35 sensors, but not the Blackmagic URSA/Mini 4.6K sensor open gate which has a 29.08mm diagonal. They will cover all the windows but not full sensor. All the others lenses are stamped 43.3mm diagonal meaning certainly cover 135 film, 36x24mm. If the numbers are accurate, they do not cover the full Weapon with Dragon 8K sensor commonly referred to as VistaVision here. However the numbers may just be there for convenience so people can quickly sat 'full frame' is good to go and not reflect their actual image circles.
 
Christoffer Glans said:
If there's a PL option, always go for the PL option as long as there's no electronic motors working with the EF. The only thing I hate about my CN-Es is the lack of PL, they feel too delicate to work on a fast paced and rough film set. The 85 has the glass just against the filter screws which feels pretty much lined up for disaster, So PL, is the way to go.
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I have been shooting with heavy lenses on canons ef mount for years, changing lenses a lot more often than a standard film shoot. The long canon lenses weigh a ton, and even the fast primes are pretty heavy. my ef 200mm f1.8 is 30 years old and the mount is still sweet and never needed repair. if you see how sports photographers treat their cameras with 800mm lenses hanging off them, i think you would be convinced in the strength of the mounts.
I agree the PL mount is far stronger, but I really think the EF mount is still extremely strong.

paul
 
paul ross jones said:
I have been shooting with heavy lenses on canons ef mount for years, changing lenses a lot more often than a standard film shoot. The long canon lenses weigh a ton, and even the fast primes are pretty heavy. my ef 200mm f1.8 is 30 years old and the mount is still sweet and never needed repair. if you see how sports photographers treat their cameras with 800mm lenses hanging off them, i think you would be convinced in the strength of the mounts.
I agree the PL mount is far stronger, but I really think the EF mount is still extremely strong.

paul
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I like PL for many reasons, and while RED has offered an EF mount for years, I note that it is unlike any other EF mount that I know of. I think (someone correct me on this if I am wrong) RED decided that EF mount lenses and mounts had too much wriggle, hence the locking ring to keep things tightened down. I never thought about this until we got a Ronin and somewhere in a video or the directions, it referred to the locking ring on a RED camera being important when using EF mount lenses, to keep the lens from rocking around.
 
Eric Oh said:
Lens mounts can be changed but have to be sent in. Not user changeable.

Focus throw is 180 degrees and zoom is 160 degrees

http://www.fdtimes.com/2016/09/07/sigma/
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Interesting... this site says that you can get all except the FF Zoom 24-35 as PL mount. I was under the impression that none of the zooms were PL. It would be great if I could get PL primes and S35 zooms!
 
As far as I can remember my tests, 35mm on the 18-35mm and 100mm on the 50-100mm do cover full frame. On the 1DX2 they cover 24-35mm and 80-100mm.
 
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