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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

Bérenger Brillante said:
I have been doing the same for a while now, and it's smooth enough. You have to use an wifi expander though like the DIY on "accessories" or the wooden camera otherwise it will lag, also have a usb battery to be able to keep your iPhone unlocked and on all the time. Otherwise Foolcontrol will go nuts.

I mosty do TV commercials and nobody came back to me for the last 4 months, and the results are sharp.
That's why I'm turning to Latitude, and still lenses. I'm using all the Art primes available with a weapon.
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Well, if you have been doing TV commercials with them for the last 4 months and no client has complained so far, then I'd say they are good enough for professional work. How about lens breathing, the typical we can expect from a still lens?
I find the GDUs do a marvelous job in keeping lens breathing to a minimum.

I love the look of my Leica-Rs. But there are projects that require more modern look. The Sigma Art series could be the perfect alternative, especially in combo with Latitude and foolcontrol.
 
Mark L. Pederson said:
That makes me want a set of EF for the VV instead of PL.
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Dumb mounts, even strong precision ones like PL, seem like an anachronism on a modern set. ARRI's LDS and Cooke's /i have filled the gap to some degree, but perhaps high strength EF (Titanium, Mg, ...) with standard data protocols could be the more universal solution. AFAIK Birger, Optitek and others have had to reverse engineer their EOS mounts since Canon considered the tech proprietary. No idea what the current status is and what might be possible...

Cheers - #19
 
Ryan Sauve said:
We pulled focus this past weekend with the Sigma ART 1835 with Foolcontrol and a droknob unit while doing gimbal work and the ramp seemed really smooth to me. Good enough that I'll likely invest in an RT motion latitude system and do all focus pulling from that. I'm small beans though (mid-budget corporate videos).
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Is there anyone pulling focus with Art lenses and DSLRs... such as the Sony and Panasonic?
We typically only use manual cine glass when doing motion work, but it would be interesting to hear if we can (efficiently) use our Art lenses for gimbal DSLR work.
 
spaulgal said:
Is there anyone pulling focus with Art lenses and DSLRs... such as the Sony and Panasonic?
We typically only use manual cine glass when doing motion work, but it would be interesting to hear if we can (efficiently) use our Art lenses for gimbal DSLR work.
Click to expand...
I assume that everyone that had purchased OptiTron is pulling focus with AF lenses, Sigma included.
I can try to contact them and chime in here...
 
Josh Becker said:
If you want a light but more full-fledged matte box, check out the Misfit (non-Atom). 2 filter trays, expands to 3 if needed, I currently use it with their Black Hole universal donut (which also gives you a 138mm circular filter stage) and 15mm clamps. But if I want to go clamp on with the Sigmas, I'll just get one of these rings to have a clamp-on option.

I am also curious about Wooden Camera's new little Zip Box, might just grab one for the kit as a gimbal savior. It's almost too cheap to not buy.
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Thanks for for the info Billy and Josh.

I have also seen this- this an adaptor to convert an arri LMB matte box to clamp onto 95mm. I don't know much about the arri offering, but it looks cool in the pics. need to pic it up and have a play to know.

https://www.zgc.com/s/p/arri_333936.html

arri-333936-400w-400h.jpg
 
paul ross jones said:
I have also seen this- this an adaptor to convert an arri LMB matte box to clamp onto 95mm. I don't know much about the arri offering, but it looks cool in the pics. need to pic it up and have a play to know.

https://www.zgc.com/s/p/arri_333936.html

arri-333936-400w-400h.jpg
Click to expand...


That is a standard Arri LMB-5/15/25 clip-on back. Arri make them in many different sizes to fit practically any lens you can think of. But they only work on the Arri matte boxes. Other clip-on matte boxes like the BT Misfit have their own proprietary backs, but none are as quick and easy to use as the Arri ones. This is one of the biggest gripes that ACs have with the Misfit - changing a back requires removing four small Phillips screws, which takes a minute and a flat clean workspace to do. The Arri LMB backs can be changed in the field in 2 seconds. With the Misfit you are better off using reduction rings and staying with one common clip-on back, much faster to change over on set.
 
its so funny to watch this industry go the way of the recording industry about 15 years ago, went from 1073 consoles to 192's in a garage with 512's and vintechs. The game doesnt change just the players!

Steve
 
Jacek Zakowicz said:
I guess they live too far away from all the action to ever learn:
Nobody wants huge lenses anymore- the cameras got much smaller. Smaller does not mean cheaper...;-)
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More than 2kg a prime looks really heavy to me. I can't say anything optically (it looks like the Tokina don't breathe much) but I'm still in love with the Celere HS (on the paper as I didn't test them yet...).
 
I love my big heavy Sony Cinealta lenses and some of these sets (Tokina, Sigma, etc) look like all out improvements. Faster, full frame, data. Wonder if they can beat the Sonys in looks since they can't in price.
 
paul ross jones said:
These lenses all have a 95m front. What matte boxes can natively clamp onto 95mm? I have a oconner o-box and its really too heavy.
I would like to do away with having a rail held matte box and just have a clamp on. I was going to get CN-E's and these have 114mm fronts, but these lenses look better for me.
I have looked at the atom by tangerine and I really don't like it. The rubber is all wonky and pointless.
Are there any other nice lightweight clamp ons? or will i have to use a lightweight matte box designed for 114mm with and adaptor?

cheers paul
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Hey Paul,

Arri Ultra Primes also have a 95mm front diameter so most "professional grade" clip-on matteboxes will have the correct diameter. I Personally use the Arri LMB-15 with 3 filter stages. I think that has been replaced with the LMB-25.

Great lightweight clip-on mattebox without too many "extras" to keep the weight down. I also have different clamp-on backs with different diameters to use with different lenses... From my Cooke MiniS4/i (87mm) to Ultra Primes (95m) to Cooke S4, 5i and Masterprimes. It's also my Mattebox of choice when I'm operating Steadicam. All this of course does not come cheap...

https://youtu.be/yR-CSUx48CU

http://www.arri.com/camera/pro_came...0d7352&cHash=e6f7deec6c642985822843692a6339e0
 
Anton Shavlik said:
I love my big heavy Sony Cinealta lenses and some of these sets (Tokina, Sigma, etc) look like all out improvements. Faster, full frame, data. Wonder if they can beat the Sonys in looks since they can't in price.
Click to expand...

Agreed, these new sets look nice, but at just about $2k a lens, my Sony set is hard to beat at half the price. I'm glad to see all this new competition in the lens market, as it can only mean good things as prices become more competitive and innovation driven forward.
 
paul ross jones said:
These lenses all have a 95m front. What matte boxes can natively clamp onto 95mm? I have a oconner o-box and its really too heavy.
I would like to do away with having a rail held matte box and just have a clamp on. I was going to get CN-E's and these have 114mm fronts, but these lenses look better for me.
I have looked at the atom by tangerine and I really don't like it. The rubber is all wonky and pointless.
Are there any other nice lightweight clamp ons? or will i have to use a lightweight matte box designed for 114mm with and adaptor?

cheers paul
Click to expand...

Wooden Camera Universal Matte Box. Most versatile matte box made. You can go from full production, to clamp on, to a single filter trey for gimbals. Amazing. I love mine and it's fairly affordable and it's very light weight even in the production setup.

Here's the video.

https://www.youtube.com/watch?v=5qmCiKwjvb8

 
Thomas Koch said:
Apparently, no price is set yet, but this indicates under $5000, sounds too high for me. I was hoping for under $4000 or closer to $3000. At $5k a lens that's Zeiss Cp.2 or Xenon range.

http://www.newsshooter.com/2016/09/...-the-new-cinema-lenses-will-be-under-5000-us/
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$5000 is too much, that will never hold. The original ART still lenses are half the price of the primes the Canon CN-Es are based off. If going just by that pricing alone, a Sigma cine prime should cost half of a CN-E prime, which I would say is a bit too wishful than realistic. I would assume they will go for slightly under the price of the CN-Es, anything above feels hard to justify based on the origin of these primes.
 
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