@Tamajyn The point of those charts is to make the test results comparable. Real-life narrative images may look great, but they don't tell you how much of e.g. the contrast and color rendering are caused by the lens and how much by the scene's lighting. A good artist can get a great image out of (almost) any lens, and @MediaDivision are certainly great artists.
@@justjanne-de thanks, i'm well aware. Test charts are not representitive of real life shooting conditions, and should only ever be used as a comparison guide. They're about as useful as test driving a car in your driveway IMO
As usual - totally superb, Nick. This time, I noticed: even the way you did the extremely boring non-narrative “lens test” part was quite exceptional, and feels ever so slightly like a tone poem of some kind? (a light one, lol) But still!! Keep that up. Seriously, you seem to get rid of the boring wherever it is, or turn it into something interesting. And I am so here for it. LOVE your Tennessee Kids short. ❤ You really captured a time capsule of the creative process as it was happening, and even with only having one take of every moment, you intuited well, kept up with them quite effectively w/o seeming to be chaotic or scattershot (or at least; edited yourself well! But you still got enough moments cleanly so it didn’t feel like “piecemeal” or something entirely invented in post.) For context, the company I work for frequently involves live music shoots w/ some of the premier gifted &/or intimidatingly talented musicians in the world, I’ve been in that position before - so I know, it can be hard to prioritize what to focus on when you are the only shooter, it’s easy to get overstimulated and hard not to get lost chasing magic moments coming at you from all sides. ) As for the Simera-C, I love your nuanced take. I actually felt like I understood the appeal of them far better and feel much more open minded now. I tend to be something of an creative extremist in general but especially with lenses; my aesthetic is very “loud-quiet-loud” lol, always operating on one polar end of the spectrum or the other, so TBCH it has been tricky to see the appeal of most of the DZO offerings. They’re expensive enough to not be preferable to a used Cooke, or rehoused vintage lens, or even a Sigma Art, which for better or worse is like the Apple Store or Dentist Office of lenses; clinical, antiseptic, but sharp, perfect, won’t let you down at all, etc. Here though, I see the appeal. They are truly small, truly lightweight, give you the focal lengths you would want, match well, aren’t too far in any direction, but can be pushed either way. What seemed middle of the road or incredibly mid, for 799, actually becomes wonderful. They seem like what the Rokinon’s initially were to people, but with less “meh” factor and more “yeh” factor. (They are better quality, and the size / speed / price / focal length / format ratio is excellent - which gives them, like you said, a pocketable, uniquely approachable feeling which is nice, and gives them their own unique appeal in a crowded market of things that often have nothing of substanceto distinguish them from the pack) As always, cheers from LA good sir! How’s the Mavo LF MKii btw? Anything you dig more about it than the original?
Thanks a lot man... and as usual and always: thank you for your support. Couldn't do any of this without you. Glad you find this review useful and you like the doc... knowing and having fought the battle yourself really helps with appreciating this kind of lens concept. Look wise.... well, wide open it gets a little interesting but generally these are clean as they should be. Greetings back across the pond... always a pleasure chatting. I like my LF... by far my most used camera, it just strikes the balance and the results are great. It is much heavier than the MK1 but it has a lot of practical things that make it well worth while. NVMe media is so cheap, fast, and practical, can't wait for the MK3 ;-)
See, I maybe don't consider these lenses... yet, but I'm here to enjoy my favorite youtube channel documentaries. Top class as usual, and I'm really sad that Blazar went for regular youtubers, who are good, but can't even dream to reach a fraction of your production value. I aspire to be this good one day.
@@Bo_Hazem I really don't think it is... I think most that try are to intimidated to try a couple more times. It is complicated Bo.. I can not lie. Don't worry though
@@MediaDivision Fully trust you, mate, nd I'll make it my goal! This narrative and pacing is top tier, and I hope I can learn from it in my own documentaries. I made 3 documentaries so far and learning in the process! If I get a good budget documentary instead of self-financed ones I would definitely reach out to you for consultancy.
I've been waiting to see these drop since they were first shown at IBC. I'm SO excited, especially for the M-Mount versions which will be a lot more portable. Also, great to see the Linhof Stativ make an appearance.
Hey Nick… Let's hope it will come to the M mount version… I just saw the prototypes. You mean interchangeable - totally. An old love for sure. Thank for your support man.
@@MediaDivision yes, interchangeable is the better word. I meant portable as in "take with you from camera to camera" not as in "smaller." But yes, I've bugged DZO/Thypoch a lot about this. I mean, you can still use the M lenses on E mount cameras. You just need to educate the consumer about it. I'd love them to sell a whole set of M mount Simera-C's, with E and RF adapters in the box. It's a privilege to support this channel, Nikolas. You do outstanding work and it's a lot of fun to watch you do it. By the way, nice work on keying out your grey backdrop for the PTC while wearing a grey shirt and having grey hair! That must have been delicate work. Or the algorithms are getting better. Or both.
Hi ! As always, so cool video ! I did same type of shot for the car accident on a music video. I did this nearly all in camera for the motion blur of the car by shooting like less than 1/20 sec shutter (so low fps) so when you speed up the shot, you have accurate motion blur. (and more Light, always cool for night at low budget)
Thanks… yeah, I thought about that on set, but as I didn't know exactly what I wanted in post, I decided to do the blur in post. I guess you would hardly see a difference and you would have to ND a bit to maintain look and DoF
Really...? We did so many new lenses. The Pavo, Pro2be, Ace Zooms..... happy to do both sides. Thank you so much for your support man. We have another new lens episode read, but the release has been pushed back
@@MediaDivision In no way was that meant to sound critical. Hopefully it didn't read that way. I think I best know your channel from the great FD stuff and I've gone deep down that rabbit hole lately. When I think Media Division, I associate it with that. Or some of the SCOPE series. Huge fan of how thorough your reviews are and love to support what you're doing. Cheers.
@@FlyingLapMedia not taken as critical in any way… I know that the FD is our third most watched episode and people often see us in just that light, still we got more new that vintage reviews and many other things. Would be boring and limited to do just vintage lenses.
This might get repetitive: If they are well received there will be other mounts including L & M. M ist the better choice as it offers interchangeability between all short flange formats and is even adaptable to Alexa Classics.
Whoa I guessed right :O Fun fact: the M mount version of the 28mm can actually cover digital medium formats as large as the PhaseOne IQ3/IQ4 with good definition, it's way beyond full frame. Although this E mount cine version might have a smaller image circle due to the flange distance and diameter. Really wishing for an M mount version of this set (with range finder coupling), it'll be the greatest lens of all time: able to mount onto and produce great results on Leica rangefinders, S35 cine cameras, modern FF mirrorless, and medium formats, all while being small and fast.
Yes, you did indeed... impressive. How do you know about the coverage?! have you tried it with the Simera photo lenses? I saw m mount prototypes on IBC... let's hope the E are well received and there will be a M version
@@MediaDivision PhaseOne is far beyond my personal financial ability... but I know someone who has an IQ4 and have been using it to test new and vintage lens coverages. I was able to get some of the lenses' test results from him, and Simera 28 1.4 was one of the few 135 format lenses that produced fairly useable result on the IQ4. On the note of coverage, there is a dude (Chris) who made a google sheet of near a thousand lenses and their coverage on medium format. Although it's a community effort so the tests are not subject to the same standard.
@@amarthgul5578 Thanks for the input Armath.... it is pretty cool it can do that.... and so unlikely for a small wide lens like the 28. To be fair, The digital medium format hardly deserves the name. Only the the H6D came close to even 645
Yeah I have been checking for the release of these frequently as I have been quite excited for the fast aperture although focus breathing is a small issue but with such a small lens it can happen. Price is amazing and can’t wait to use these on my dji ronin 4d setup.
Totally … these will be great for the 4D and price is a no brainer. The Athena are twice the weight at almost halve the speed while being more expensive ;-)
@@MediaDivisionyeah I was definitely obsessively looking at the nisi athena for a while. I am definitely going for thypoch as they are neutral, sharp, bright, but still have just enough character for that something special. Imagine if Voigtlander did this with there lenses they would be so beautiful 🤩
Adrian! I am stunned by the level of your generosity... don't make me cry man. Thank you so so much for your continued support. If everybody was like you, RU-vid would be another place and we would all produce glorious content far from consumerism. We are happy to have you here... forever in your dept. The divsion salutes you!
@@MediaDivision Nikolas! I would love to see more people supporting your channel. The amount of work you guys put into every episode is immeasurable! 🙌 You can compete with Netflix anytime! 🎥🎞💯
Absolutely brilliant review, as always...those Thypochs are awesome, im definitely getting a set but awaiting PL if possible lol! If not probably X mount for FujiFilm X-h2s (see Ermia Ramez review), these lens would be amazing..
@@unionfilms6692 ??? you can adapt PL lenses to X mount with an adapter. These are not PL. You can adapt M mount lenses to X mount with an adapter. There might be an M mount version. You can't turn a short flange lens into a long flange lens with an non optical adapter. You can change a long flage lens in a short flange lens with an adapter.
Peter........ how are you? Well, I saw M mount prototypes on IBC, that would make them interchangeable with all mirrorless systems. I call it "PL light ;-)
@@MediaDivision All fine here. Working hard to get version 2 of the prototype ready :-) PL light would be great. With an M-to-X-adapter these little guys would be perfect ... Let's keep fingers crossed !
Comparing these lenses to my set of Leica M still lenses... well they are nowhere near to Leicas on all aspects. Espessially color quality and flares. But for such low price I definitly interesting in such kit! Working with focus motor with my adapted (just tilta rubber 0,8 ring and 3M scotch) still leicas is so frustrating on paid jobs that comparable in size and weight lenses but with proper 0.8 gears make sense. From that 4 lenses I liked most 75mm and 35mm. Very curious what will be 21mm! And while I usually work with Sony cameras, I will wait for M-mount version bc of adaptability to other systems. Thanks Media Division for such high quility content again!
Totally our pleasure Alexander… why don't you get some decent focus rings for the Leica M? That would definitely improve the experience. Metal with screws or custom 3D printed … everything is better than rubber rings.
The behind the scenes is awesome. Thanks. You mentioned that subject tracking did not work. Can I ask why you if you compared with the Sony's AI subject tracking? I'm a photographer, not a film maker, so I might be wrong here, but I use the AI subject tracking of A7rV in dynamic, even more complex, scenes and it works like a charm. It simply locks and stays locked on the moving subject and even switches between eye, head or body when one gets obscured. I do not have experiences with the film making but I got surprised by your note that the DJI's focus tracking did not work. So I am curious if that's just the DJI thing or there is something I missed.
Sure thing. You are talking ROADKILL or TENNESSEE KIDS? The shots on the gimbal and the session where shot with a Mavo LF, so, no tracking there and if it had, the lenses have no servos?! Non of this would really have worked well with PDAF and native lenses. In Roadkill it is quite dark for PDAF and it would have probably run into the same problems as the LiDAR switching around not knowing what should be in focus. For the session AF is worthless as it is about storytelling using focus as decried. Only use AF if you have to and it makes sense.
thanks a lot for this pro review as usual , if we want use only on lense (28mm ) did you thing go to voigtlander its a better choice ? i will very happy if you can do someday a review about voigtlander lenses specialy they are very tiny lenses for independent filmmaker and small crew. thanks a lot . peace
Thanks Hasan... I can give you a sophisticated answer to that as I never used a Voigtländer. Well... you never know, but we haven't planned such a review or access to Voigtländer lenses, sorry.
PL is not going to happen... the compact design requires short flange (although Leitz did it with the Hugo?!). In the end, PL doesn't make sense for this concept as it would make the lenses heavy again.
the compact design requires short flange (although Leitz did it with the Hugo?!). In the end, PL doesn't make sense for this concept as it would make the lenses heavy again. A locking e-mount is by far strong enough for tiny lenses like this,
There might be a m-mount version if the E are well received… that will open them to all short flange systems including MFT… although… I might rather use native lenses for MFT. I saw prototypes on IBC
Still need that PL Mount, it’s completely useless to me to use on our TV Series, we are t taking time to change mounts from car mounts to gimbals, etc. would LOVE to buy a set but I won’t be looking at these due to no PL Mount.
What’s the difference between cine lenses and photography lenses besides T-stops and consistent focus and iris ring position? It’s time for some auto focus cine lenses if there’s some other difference. Otherwise, I love my Sony G- master glass with amazing auto focus and focus breathing compensation. Excellent video as always. Love your channel!
They usualy have less focus breathing and are more color mached within the set. But yeah, af cine lenses or just lenses with internal motors would be nice. But photography lenses are definetly no slouch. Just see how close the sony gm 35 is to the segnature prime. The arri prime beats it only in contrast and breathing, for everything else, the gm would be my choice.
Auto focus and cine lenses are basically direct opposites. If you want auto focus lenses, simply use photo lenses. Even the Burano has outo Focus and E-Mount option. Additional features of cine lenses (not all have to apply): - mechanical with longer focus through and hard stops (you can't pull focus with AF lenses… try) - Optical compensation for Focus Breathing - Gears - PL/LPL mount (important when using strong motors) - sturdy build (important for rentals) - easy to service (important for rentals) - Unified sizes and fronts (for use of matte boxes) - Internal focus and zoom (for use of matte boxes) A cine lens with Auto focus would be horrible at auto focus in terms of speed… it is just to slow with the long through and the heavy built. A DJI Focus pro can give decent auto focus to any mechanical lens
@@johannesimmonen2125 6:05 is an Arri Alexa XT 11:06 is a Kinefinity MAVO LF MkII … but you could have done any of the shots with about any other modern camera without you noticing a difference
If you take two and knock them really hard in both of your eyes at the same time. Seriously… with T1.5 shallow DoF there is "3D pop" if you refer to that… of course.
If the E-mount version is well received … I am pretty sure they'll do it. There might also be a M-Mount version that would make them interchangeable with all short flange mounts - I saw those as prototypes
@@MediaDivision hopefully they don't get lost amongst all the E mount options... Releasing these for L first could've been huge with all the new L mount cameras being released.
I see a ton of inconsistency issues between the lenses both on some of the focal lengths, but within the same focal lengths, stopping down introduces a shift towards magenta? Perhaps it was the grade or something. Also whatever camera was used for the ‘roadkill’ seems to have a ton of IR pollution.
I don’t see any of the mentioned… inconsistencies in the Forrest are due to various ND and grading against them of course. IR pollution? At night? No IR pollution on either the FX3 not the Mavo LF is obvious to me.
Both the 50mm & 35mm both DRASTICALLY change when stopped down to T4 from a 2.8. Is that being caused from your ND in-front of the lens or the lens itself? Yes-to my knowledge, there are lamps that emit infrared wavelengths and/or very near infrared wavelengths.
Yes… of course it is the (not FS) ND. Tungsten has IR of corse and the headlights are tungsten BUT that will not produce noticeable IR pollution. I can not see any IR related problem… not did I ever in daylight situations.
This might get repetitive: If they are well received there will be other mounts including L & M. M ist the better choice as it offers interchangeability between all short flange formats and is even adaptable to Alexa Classics.
@@MediaDivision Maybe but for comparison GM lenses are a lot cheaper from Sony, like the 24mm f/1.4 GM is £759, I know it's not a fair comparison but a point of reference.
They don't make PL mounts on purpose? Any lens will move in the mount if there is no lock! These are clearly not cinema lenses because there is no PL mount!
Quick… tell Cook and Zeiss that the SP3 and Nano Primes are not cine lenses! They are burning to know their marketing is off. Seriously… cine lenses have a lose definition and you can define them however it suits your work.
@@MediaDivision Yes, even in your video on the lidar you can see how the lens tilts down under the action of the motors because there is no PL mount. Yes, you are absolutely right about cook lenses without a PL mount! Lenses without a PL mount are lenses for documentary films, not for cinema! This is clever marketing, but we saw through it!
@@ggdfggdfgdffgfddg34 I think you are seeing phantoms… The MAVO LF used here has a very sturdy locking E-Mount. Like I mentioned… I am not to interested in semantics. Even the Burano and Venice have E-Mount option. Pros work with whatever suits the given situation best.
They’re cinema lenses, because they are full manual, have large focus throws, sturdy housings with gears and minimal breathing, the mount doesn’t matter. They are E mount because it means you can make them cheap. The other option for those using E mount are photo lenses, that have short focus throws, breath heavily and have lighter weight construction without gears. The point of a cinema lens is to give cinematography’s the correct tool for the job. It doesn’t matter what camera or mount they use. These are aimed at a lower end market, a big budget feature film would only use them if they need to use a small crash camera.
