Sony FS7 lens solutions part 1 – The joy of A-mount and the pain of E-mount - 推酷
Sony FS7 lens solutions part 1 – The joy of A-mount and the pain of E-mount
By site editor Dan Chung:
Sony E-mount lenses for the FS7:
The FS7 is most often seen pictured with Sony’s new E-mount 28-135mm F4 Cine servo zoom lens on it. This lens is designed specifically for video shooting (although it can be used for stills) and has proper manual control of focus, iris and zoom, along with a servo controller for zoom from the FS7 handgrip. The lens covers full-frame and should be available in a kit with the FS7 some time towards the end of the year. Optical quality is unknown at this time but I expect it to be at least good enough for broadcast use.
The FS7 with 28-135mm Servo zoom attached
While I really love the idea of this lens I do think the range isn’t really wide enough for the FS7’s Super35mm sensor (although it may be just the ticket on the full-frame a7S). For run-and-gun, 28mm on Super35 just doesn’t cut it. The new Canon 17-120mm and Fujinon’s 19-90mm cine zooms have much better wide angle coverage, the Sony Cine zoom would be much better if it had a similar wide field of view. So what are the other E-mount options if you start using stills lenses instead?
Sony native E-mount lenses – are they a good option for the FS7?
There are actually two ranges of E-mount AF lenses from Sony, the original NEX APS-C line and the newer full-frame FE lenses designed with the a7 range in mind. Both fit the FS7. As they were designed specifically for mirrorless cameras with shorter flange distances, the lens designers have been able to design smaller lenses. Most also feature rapid autofocus.
Some of them also offer Sony’s OSS image stabilisation, which is very useful. In addition, Zeiss, Tamron and Sigma also make compatible E-mount lenses.
On paper Sony’s E stills lenses sound great, but there are several limitations when using them for video shooting. On the FS7, for some reason the current firmware requires the operator to turn the aperture dial (either on the grip or the camera body) several times to achieve a one stop shift in aperture. This means that making a quick iris adjustment to compensate for changing lighting conditions is pretty much impossible. It also makes getting the exact aperture value you want a little slower. There seems to be some lag as the aperture adjusts if you turn the dial too quickly. On the plus side, opening and closing the iris is remarkably smooth and not ‘steppy’ like some other AF lenses – adjusting the iris carefully while filming is certainly possible with most E lenses.
Other Sony cameras do not function the same way with E-mount lenses. The a7S and
I tested have much faster and more predictable aperture adjustment. Sony really needs to fix this and are aware of the issue. I am cautiously optimistic that we might get a solution from them in a future firmware release, but for now it does deter me from using E-mount lenses with the FS7.
The focus system on these lenses is electronic fly-by-wire and not mechanically linked to the focus ring. The speed of focus is determined in part by how fast you turn the focus ring, not just how far you turn it. There are no focus markings on the lens and the focus ring spins continuously. This makes small focus adjustments tricky and follow-focussing hard. I find it much harder to manually focus accurately than a good mechanical lens, or even a recent Canon AF lens. Nice smooth manual focus pulls are also nearly impossible to achieve using these lenses. But the lenses do focus the ‘right way around’, the same as most ENG and cine lenses.
Autofocus on the FS7 is pretty quick. You can assign it to a button on the body or grip and it is usually pretty accurate although it does miss occasionally. When using AF I still feel the need to magnify the image afterwards to make 100% sure the camera got it right. The AF does not smoothly transition in the same way that Canon’s Dual Pixel CMOS AF does. Instead, the FS7 tends to hunt a little towards the end of the AF action – meaning you probably won’t want to use it while the camera is actually rolling. It is pretty useful as an aid to getting focus before you roll, though.
The Sony 18-105mm f4 PZ E-mount lens
One particular lens that I do like is the inexpensive image-stabilised 18-105mm f4 Power Zoom lens. This is unique in having a constant aperture and a good wide to tele zoom range coupled with servo zoom control from the FS7 handgrip. The lens distorts quite heavily without in-camera electronic distortion correction (which stopped many FS700 owners from using it), but luckily the FS7 has in camera correction in HD mode and also in some, but not all, 4K configurations. Sharpness is pretty good and the bokeh is fair – pretty much to be expected for a cheaper zoom lens. Manual focus is tricky, as described above. But for run-and-gun it offers a pretty good combination of features which no other lens has and it’s the one I tend to leave on the camera in case I need to grab a quick shot while travelling.
I also have a Sony 70-200mm F4 FE lens which is wonderfully light and sharp on the FS7. The OSS system is great, but the big downfall for video is that manual focus again. Other users seem happy with the fly-by-wire system but I really have a hard time using it on this particular lens. Wide angles are perhaps not so bad as hyper accurate focus is not as critical. During interviews a slight move forward or back by the subject is hard to keep focussed. I struggle to decide whether to keep this in my bag and save my back, or go for a more conventional 70-200mm.
Canon’s 70-200 f2.8L IS II next to the Sony 70-200 f4 FE lens
On the ultra-wide end I have the Sony 10-18mm F4 OSS lens and also the Zeiss 12mm f2.8 Touit. Both are quite useful. One issue to watch for with the FS7 and wider E-mount lenses is that it is particularly easy to have the EVF creep into shot. On a tripod this is easily remedied by moving the EVF out of the way – but in handheld this may be unavoidable with some lenses.
The primes are pretty nice – especially the Zeiss branded 24mm f1.8 and 50mm f1.8. These seem a bit easier to manually focus for some reason. They are wonderfully small and sharp and have good bokeh. What I really want to try are the Zeiss Loxia manual focus primes. These are native E-mount lenses with fully mechanical focus but electronic contacts and a high degree of image optimisation for the Sony cameras. There are only 35 and 50mm lenses right now, but hopefully this range will expand soon.
The new Zeiss Loxia manual focus E-mount lenses
The range of available focal lengths is also limited due to the newness of the system, although Sony are adding new ones constantly. If you want or need smaller lenses and are happy to rely heavily on autofocus then maybe Sony E glass is for you.
Sony A-mount lenses on the FS-7:
Sony A-mount lenses – are they a serious option on the FS7?
Before there was the E-mount, Sony inherited the A-mount range of SLR lenses from their acquisition of Minolta. They continued to develop the series and it is pretty comprehensive. It includes several lenses made in conjunction with Zeiss and the construction of these is first rate. Focus direction is the same as on Canon lenses and that makes them easier to operate for most users. On the downside, there is no image stabilisation on Sony A mount lenses. As well as genuine Sony/Minolta lenses there are a plethora of inexpensive A-mount Tamron, Sigma, Tokina and other third party lenses to play with too. A special favourite of mine is the old Tokina 28-70mm f2.8 ATX lens which has lovely manual focus. I bought it used for around $100.
Not as good as a Zeiss, but a $100 used this Tokina A-mount lens is very possibly the cheapest quality 28-70 f2.8 out there
The stars of the range are certainly the Zeiss ZA 24-70mm f2.8, 16-35mm f2.8, 24mm f2, 135mm f1.8 and 50mm f1.4. The zooms are nicer in operation than other AF stills zooms I’ve used and I prefer the feel to my
and 24-70mm. The Zeiss ZA primes are every bit as good optically as their ZE and ZF counterparts. The main thing that is lacking is a Super35/APS-C format wide to tele fast zoom for the FS7 – the same issue as with competing stills lens systems. For now I am resigned to a lot of lens changes during shoots.
Zeiss 16-35 f2.8 ZA lens with LA-EA4 adapter on the FS7
When the E-mount was launched Sony decided not to orphan these lenses but instead provide their own electronic adapters. The first was the LA-EA1 which gives control over iris from the camera body and very slow contrast detection AF – when I used it in the past the iris closed down as expected, but when opening it up the image would ‘flash’. The iris for some reason needed to open to its maximum before closing back down to the value you set – causing a brief overexposure that looked like a strobe has gone off. This was obviously useless for adjusting iris while shooting video and it is something we will see more of when we come to examine the Metabones EF to E-mount adapters.
The second Sony adapter was the LA-EA2 which essentially houses the AF system from a Sony DSLR in its body. An innovative translucent mirror in the adapter splits off a small amount of the light to a phase detection autofocus sensor in the adapter – there is a slight loss of light, but this is nothing to worry about with today’s super-sensitive sensors. The better news for video shooters is that the ‘flashing’ issue does not occur as the iris opens – hallelujah.
LA-EA2 autofocus speeds are comparable with a DSLR, but the camera must be in auto and the iris set at f3.5 or smaller for the AF to work. This limits its application for movie shooting, but you can use it as a kind of Push-AF before you start to roll. It is useless during a shot as every time you activate it, it gets brighter and the white balance goes to auto while the AF is on. The LA-EA1 and EA2 were designed for APS-C sized sensors. The newer LA-EA3 is the similar to the LA-EA1 but for full-frame cameras. The LA-EA4 is the full-frame equivalent of the LA-EA2.
The Sony LA-EA4 adapter on the FS7 – note the translucent mirror
I tested the LA-EA2 and LA-EA4 and found them to behave identically on the FS7. Electronic iris control was much better than with native E-mount lenses. On the FS7, changing aperture took far fewer clicks of the dial per f-stop, although the exact number of turns was still not consistent. Being made by Sony the adapters mate very well with the FS7 body and there is little wiggle or play in the mount. A tripod mounting screw hole on the base of the LA-EA2 and LA-EA4 can be used to secure the adapter further if you need to use longer lenses.
What makes Sony’s A-mount lenses different to Canon’s is that the aperture is still controlled from the body (or LA-EA adapter) via a mechanical level. Canon EOS lenses are all electronic and so without power there is no way to adjust iris. This means the A lens aperture can be controlled by a simple ‘dumb’ mechanical adapter in the same way that most Nikon lenses can. This makes them about the most suitable AF lens out there for adaptation to video.
The lovely Novoflex mechanical A-mount to E-mount lens adapter with blue iris ring
Novoflex make a very nice adapter allowing you to use A-mount lenses on E-mount cameras. It is purely mechanical and has an aperture ring on the adapter that links to the iris control. It is wonderfully smooth and can be easily used to tweak the aperture during a shot if needed. The only real downside is that being linked by the lever means there is no indication of the actual aperture value – fine for my kind of real world shooting but maybe an issue if you are doing more technical stuff.
Better still, Metabones have made a A-mount to E-mount Speedbooster for use with full-frame A lenses. It optically reduces the image to fit the FS7’s S35 sensor. The end result is an image that closely resembles what the same lens would look like on a full-frame body like the a7S. A by-product is an approximate one stop gain in brightness due to light being concentrated onto a smaller sensor area (the depth of field remains as it would for the original lens aperture).
Metabones all mechanical A mount to E mount Speedbooster
The Speedbooster has a similar mechanical iris ring to the Novoflex and allows for smooth iris transitions. The only major downside with this adapter is that mine does not fit very tightly and tends to wobble too much any time I touch the lens for focus – especially with longer lenses. Hopefully this can be improved by Metabones with a second Ultra version (the Ultra versions have improved optics but an A-mount to E-mount has not yet been announced).
The Novoflex Sony A to MFT adapter on a Blackmagic Pocket Cinema Camera
As a bonus, these lenses can also be easily adapted to Micro four-thirds cameras like the GH4 using a Novoflex adapter, or used on the
using a Kipon adapter. Sadly they can’t be used on Canon EOS cameras due to the flange distance.
Kipon Sony A to Sony F mount for F3/
Conclusion:
If you want an all-Sony lens solution for the FS7, then in my view the A-mount operates best and has most available options at time of writing. Native E-mount lenses have huge potential on the FS7 but Sony needs to address the basic operational issues before I start to use them more regularly.
In my next article I will tackle the tricky subject of using Canon EF lenses on the FS7. Stay tuned.
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沒有蔡味, 誠意欠奉&(13個心得) 於
09:55:49優點:- Biogon強項 - 零變形
- 輕巧 (但ZM版比它更輕)
- 邊角比ZM版有明顯改善
- 手感一流, 全金屬鏡身, 對焦流暢
- 光圈環可Declick
- 支援EXIF資訊
- 防水滴膠邊
- 對焦時可自動放大畫面缺點:- 全開光圈時成像偏軟
- 發色缺少了蔡司的濃豔感
- 全開光圈時散景少了奶油感, 有輕微雜亂
- 經常曝光不足
- 貴意見:個人認為這是一枝十分雞肋的鏡頭。Sony和蔡司在35mm焦段上有不少選擇, 但卻各有問題。
FE35/2.8各方面都很好, 唯獨光圈不夠大, 玩得Full Frame加定焦鏡, 很難會滿足於F2.8吧...... FE35/1.4是頂級鏡, 但為了質素卻無可避免地犧牲了輕便性。原以為Loxia可填補這個空間, 但卻有點失望而回......
其實蔡司在這焦段有不少出色之作, 好像Distagon 35/2, Milvus 35/2。另類的也有Sonnar的24/1.8 (APSC), 和RX1上那顆Sonnar 35/2。除了Milvus未試過, 另外幾枝都各具特色, Distagon以銳利取勝, Sonnar則散景柔潤乾淨, 畫面通透感強。共通處是同樣有蔡司的招牌濃實發色。
可惜, 這枝Loxia竟然是修改自最臭名昭著的Biogon ZM。光圈全開雖可用, 也比Biogon進步不少, 但遠未到優良水平。散景十分平庸, 發色更缺少了蔡司的招牌色調。無論鏡身設計和操控上如何一流, 但要用家花八千大元去買一枝畫質平庸無特色的手動鏡, 也是很難說得過去的...... 要知道其他廠的35/F2一般價位是四五千元左右......
還要留意Voigtlander有一枝Ultron 35/1.7, 無論光圈, 銳利度, 售價均比這枝Loxia更具競爭力。(當然VM也有它的缺點, 同埋只有M mount)
總括而言這枝鏡合格有餘, 但是否值這個價格則十分保留。個人覺得蔡司並非沒有技術去做一枝付合以上所有條件的好鏡, 例如RX1那枝, 只是為避免產品重疊而做了這種取捨, 十分欠缺誠意。4
你認為此心得對你有幫助嗎？
A7 用家值得買入&(1個心得) 於
13:48:42優點:輕便，成像得 !缺點:一個字"貴"!意見:由CANON APSC 轉投 SONY A7II，原因有二 :
1. 相片質素提升
2. 貪求輕便
很多年已無用手動對焦，在入手 A7II後, 問朋友借了些手動鏡，發現 A7II 的Peaking 對手動對焦有好大幫助，朋友借俾我其中一支係Zeiss Distagon 35/2 ZF. 一試愛上了 Zeiss 的油畫味，於是在網上買了支相同的自用，Distagon 35/2 ZF 成像佳，可惜真係重，尤其係加埋個轉接環，用落 A7II冇左份和諧感之餘，亦失去貪求輕便的因素。有一日咁啱走上Sony shop , 先知有呢支，一試，輕之餘MF 果陣仲會放大，立刻部署換鏡。而家用左幾日，成像相當滿意，輕便更增加我帶住周圍走的意欲。我手頭上而家有 SONY 28/2、支 KIT同呢支LOXIA 35/2，支KIT 基本上係放在放潮櫃休息，而35/2 呢支更係長插機身。13
你認為此心得對你有幫助嗎？
唔通冇人買? 就等我第一個寫吧~&(2個心得) 於
00:21:13優點:輕, 型, 畫質出色!
輕~~~因為用開5D3 + 35L, 而家雙修..A7II + Zeiss Loxia 2/35 + Sony x Zeiss 55/1.8, 相比輕左好多!
型~~~mount位藍圈, hood左右都有藍色Zeiss標誌, 收視大增, 多左人望住支鏡, 呵呵
畫質出色~~~色彩濃, 夠sharp, 立體感強!缺點:貴~~~9千幾銀得F2, 不過再大就冇咁細支!
MF~~~有AF就更正!
冇貨~~~相信周圍有貨會平D, 所以要食貴貨, 反而2/50果支就多D貨!意見:有買貴冇買錯!
第一次買MF鏡, 以為MF難用, 但A7II有peaking, 基本上影景用無限遠都唔使點對焦, 影返近野都係2至3秒攪掂, 好易上手!
有諗過玩菜C支35/2 ZM + mount, 但支鏡都十年前, 兩樣價錢夾埋唔差好多, 最後都係決定有新玩新, 始終新鏡都會配合現今數碼相機技術, 又有埋exif!
又有諗過就出果支35 F1.4, 不過太大碌又重, 仲重過我支35L, 玩A7都係想輕啫！
仲有用A7II可以用menu個APS-C, 開左就X 1.5, 當50 F2咁用, 一鏡兩用! (不過同支鏡冇關係...哈哈)
F2可用, F2.8開始介手...不過覺得Sony x Zeiss 55/1.8仲介手!
好...最後希望幫倒有興趣想買呢支鏡嘅ching~42
你認為此心得對你有幫助嗎？Zeiss蔡司loxia2.821E-mount单反相机评价如何,好吗?!
Zeiss蔡司loxia2.821E-mount单反相机评价如何,好吗?!
以下为大家分享买过Zeiss蔡司loxia2.821E-mount单反相机的真实用户评价:
不错，蔡司发货也给力，Zeiss蔡司loxia2.821E-mount单反相机也非常好，拍照很清晰，拍的套餐内存也大，满意
品：Zeiss蔡司loxia2.821E-mount单反相机
1、Zeiss蔡司loxia2.821E-mount单反相机查询了一下，应该是正品。不过双12没送什么有用的东西，价格也没便宜多少。双11前几天京东上价格最低到了3500多，本来以为双11价格会便宜点......一直拖到双12......买回来有点后悔，机子复杂，研究好久也没研究出个所以然，
是当卡片机在用。
2、完全的小白，慢慢摸 吧，从外包装去验证是正品，但是底部箱子封条有被拆过的痕迹，所以还是会有些怀疑吧
3、相机刚拿到 外观好看 轻巧 适合女孩子 蔡司赠送了很多实用的 蔡司发货也很火速 总体都很满意?
4、相机还不错，试拍了下，按键很好使，画面清晰，很满意！
5、收到几天了，遇到些小问题，都很好的解决了。现在在看书，简单易懂，喜欢喜欢
6、Zeiss蔡司loxia2.821E-mount单反相机收到正在研究中 很喜欢 蚂蚁家蔡司也很赞哦 很棒 强烈推荐哦
7、刚买一个星期就降价了？降价幅度还这么大，什么鬼，做为一个买手我表示很伤心
8、苏宁太给力了，比官方的[#蔡司]蔡司都低好几百块啊，苏宁蔡司发货的服务也很赞，速度特别快!
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