Finally, someone talks about their value! I've had mine for years and the custom Jason pelican case. I refuse to give them up. I use them with my sony PMW-F3 and, believe it or not, my AJA CION. So clinically clear and sharp. And very heavy. But because they are so heavy, I don't worry about breaking them. It'll break the wood floor before the lens gets a scratch. (Making a joke, don't do that, lol) Also, the lens you and I are looking for is the SCL-P11X15. Completely underrated lenses. Great vid!
Thanks for that link man!!! I totally forgot about that lens!!! (Remember seeing it maybe a decade ago) How's that AJA CION going? I've never used one but remember when they came out.
@@AlucinorProductions Hey no problem! I honestly love the AJA. A lot of people had issues with its highlight roll-off. But using a simple Linear to Arri Log-C to Rec 709 with luminance highlighting enabled literally fixes everything and you get all the 12 - 13 stops of DR. Definitely not a run-and-gun camera which is another reason why I think people didn't like it. But the internal 12bit Prores 444 along with a global shutter is an absolute godsend. Paired with the sony lenses this camera is SHARP. Love the AJA and the F3.
@@derrichjohntravels the F3 is one of the most underrated cinema cameras ever made. We still shoot 70% of our client work with a pair and the images they produce are really something different.
Another great video mate! Love the format, always plenty of good info in an entertaining format. There's someone selling a pl mount taking 11-16 in Sydney on marketplace at the moment for a pretty good price 👌
you should try the Laowa cine 12mm zero-d. It's super nice! The tokina is also great, but the Laowa feels like a different beast, not least because of its crazy close focus
The OG Tokina 11-16/2.8 PL-mount is what I reach for for ultra wide shots. Also, at 12mm it fills the fullframe field of view on my R5C. It also boasts solid metal construction.
Love the video. I have been wanting to level up the gear. Recently tested some CP3’s and loved them. Compared to modern Sony photo lenses. Have you found they have improved look and contrast rendering? Or more or less look the same?
Thanks mate. You know I have very limited experience with Sony photo lenses as I’ve mainly lived in Canon and Fuji land for stills… and have mainly owned sigma and Zeiss glass in the past. But I wouldn’t call these overly clinical which the sigmas can feel at times. And the contrast is great. Very consistent across the set. Not quite as punchy as the ultra primes which I think this vid shows. More pastel like out of focus areas
We are planning an Alexa Bcam video. Shooting a pretty big short middle of the year and we won’t be able to use Alexa on all our gimbal shots for example. Can/will do some RF to CineAlta comparisons as part of that
I've always had my eye on these lenses, but never really had the opportunity to buy them. I had tried them at the time in the same configuration of equipment that the video shows at a certain time, that is to say an Arrri Alexa camera and the CineAlta V2s. I really liked the rendering.
I'm using Cine Alta lenses with S1h + Atomos Ninja. It's very satisfaying. Some people say its heavy, but generally real cine lenses are heavy. It's good for cinema, so you can feel exactly what is cine lens, so if you want to see Hollywood looks, anyway not anamorphic but good enough for me also 4k performance is perfect. Those lenses discontinued, it's hard to find the x6 set of it, but definitely worth to buy. You can use it with any camera or dslr. I'm using with lumix s1h + atomos even youtube compress any video after upload, video looks very cinematic.
Fantastic. Do you use the 20 and 25mm on the S1h? I found the 35 and up cover full frame (35 with some vignetting) but the 20 and 25 are definitely S35 only
@@AlucinorProductions Lumix S1h is Full frame, but it has sensor crop modes too. So, it can record 4k Raw 59.94p/50p/29.97p/25p/23.98p (res. 17:9) in Super 35 / Aps-c with Ninja Atomos V. Also, I'm using x6 set of Cine Alta. I compered Cine Alta Lenses with beginner Cine lens on S1H, but when I tested it with Cine Alta Lens, it looked like more cinema. Also the depth of field of the lens is amazing.
Good stuff. I purchased some red pro primes last year and have had the same feeling. Severely underrated. Clinical but not too much - especially with a little filtration and shooting Alexa at 1280. Heavy but look professional and they’re definitely eye-openers to clients.
@@jakejames1591 Curious. What strength on the Nisi Allure's would you compare to a 1/8 BPM or a 1/4 BPM? I don't usually go stronger than a 1/4 and 1/8 is my default
The Tokina 11-20mm is probably the best match for a wide angle... especially if you know what optics are used inside the V2 Sony CineAltas ;-) The V1 lenses did come with a wide angle zoom lens Sony SCL-P11X15, which was simply the older Tokina 11-16 rehouse by Sony.
@@AlucinorProductions I'm in the same place with the SLR Magic Hyperprimes. I own the Tokina 11-20mm and find it an ok match - but the 25-85mm range on the Hyperprimes is good for most work.
Nice video, did you ever tried this Lens with a Red Dragon-x 6k Sensor? was supposed to be a S35, Sensor Size is 30.7 mm x 15.8 mm (Diagonal: 34.5 mm), but my Meike S35 18mm have vignet when shooting 6k, so Have to crop to 5k to works fine, I thinking to buy a set of those lens and would like to know if 20mm or 25mm would cover the Red Dragon sensor Area. thank you
Unfortunately not. Never had it. Have a feeling there would be some slight vignetting on that but can’t 100% confirm. Great image on that dragon sensor
Nice video, thanks! One question, in particular regarding the 35mm and 50mm: what are the marks for over 2m focus distance? Are there many or not so many? Some lower end "cine" lenses have a lot at the beginning of the focus distance but very few at the end (like, 3m, 5m, and stop, infinite!). Having enough of them would be quite useful to nail focus at distance, but I never find a photo of these lenses displaying exactly how are organized the marks closer to infinite...
Meike push a lot warmer. I agree Irix seems to make the most sense for a more neutral looking. Discussion about the build quality have definitely made me scared of them though.
Can you send me a link re online discussion? We got the 15mm but I’ve had barely anytime with it. Prepping a big short I’m directing (not shooting)… got some gear in really looking forward to evaluating and making vids on. We’re in a heads down content later season atm though
I have an alexa classic but just haven't taken a stab at getting lenses yet as I'm so conflicted about buying new or second hand as pl are so expensive.
Understand. And there is a plethora of options available now which is rad! I do think these are a great combo with Alexa Classic. I reckon we’ll get a mini down the track a bit and they’ll be great there too
I have the set and I completely agree ! I am using them with the Alexa as well. Amazing combo ! I want to test them on my Z9 - just bought a PL adapter 👌🏻 Really love the examples shots, very comprehensive video. Only thing missing is how the bokeh looks when there's lights in the background! Lights looks oval, a bit similar to anamorphic lenses. By the way it's spells Bokeh and is pronounced bokeh... "Bo Ke", not "Boca" 😂
Really love the examples shots, very comprehensive video. Only thing missing is how the bokeh looks when there’s lights in the background ! Lights looks oval, a bit similar to anamorphic lenses. By the way it’s spells Bokeh and is pronounced bokeh… “Bo Ke”, not “Boca” 👌🏻🤪
It seems that folk who have the original plastic Sony lenses are content with them as there seem to be few offered on eBay. In the affordability stakes, I guess I shall have to stick with my old Nikons on an EF-Mount Ursa Mini with adaptors. How would you rate the original Sony plastic lenses optically?
Finally i found a set in the EU, for 5k EUR it's a steal, and i got a nice PELI case for them too. I've tried them on my A7S2 took some photos of a pile of old pallets, and even those look amazing. :D However, i'd not recommend them for full frame, the 50mm vignettes the 85, 135 is ok, just darker edges, image quality at the edges are also ok. For the Alexa 3.2k all will be fine, should work with open gate, or minis, definately on the 35, but i'm afraid i'm not going to lay my hands on one of those in the foreseeable future. Looking at the options, if someone is looking for budget s35 glass for PL mount, they are really good, Meike are cheaper, or DZO zooms, but... i'd say i could put the Sony's to the same shelf as Zeiss, Leica or Cooke, the others, not so much.
Hey, yeah I don't recommend for full frame either although 35 at 2.4:1 is acceptable on the r5c, 50 and up fully cover the r5c. 20 and 25 definitely not. We just got the Irix 15mm PL to give us a wider option than 20mm too. Yeah we are getting great agency reactions to the look from the Sony's. I think were the only ones in town with them too which is cool. Really happy with them as a workhorse owner set.
I do have Sony Cinealtas v2 and found out that IRIX Cine primes are close in terms of look. Not the same, but really close. So your wide option could be 15mm Irix. Definitely stay away from Meike Full frames, they are too vintagey.
@Derrich John Travels mentioned the lens in the comments below (a wide). He said " the lens you and I are looking for is the SCL-P11X15". There's currently one on ebay for $5500 USD... but pricey for how much I'd use it and it's a T3. We're still undecided what wider lens we'll get, could be a zoom or a prime in the 14-16 range.
Love them. They’ve been used on multiple tvc’s and corporates on Alexa and c70 and even Venice 2 in s35 6k. Basically all of our larger crew jobs, the smaller crew fast paced corporate gigs continue to be on c70s with Canon RF glass and a few sigma arts filling out the line up.
We have been working on a big short that was meant to be shot on them, but we were offered free use of a Venice 2 and Sigma Cine lenses. So it’s mostly shot on those with Sony cinealtas for flashbacks on Alexa classic
These lenses are rather heavy, but, the build quality and optical performance is superior to any other lenses at the same price point. I use these with the Ursa Mini Pro, (poor mans Alexa).
Hope it's useful mate! Could make more of the test shots available sometime if that's of use...
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@@AlucinorProductions thanks for finally putting together. I imagine they will go up in prize now 😂 Yeah, I don’t want to ask too much but would love some night shots with them for flaring and such. That was the only thing I was missing out slightly. But really appreciate this one. I hope some rental houses in LA will pick them up as well.
No worries. Will prob get some on prep for our next short. FYI there’s a link at the bottom of the description to a online tests of flaring and breathing
Key differences. Manual aperture ring. Longer focus rotation for precise manual focus pulls by a first AC. Lens gears, often in a set they’ll all be in the same spot so you’re not adjusting matte box etc between lens changes. Color matched across the set. The mounts can vary these days but traditionally they were PL mount for cinema cameras. PL mounts have a strong locking mechanism.
Thanks for the tip! Have had a few suggesting the Irix 15 so we're looking at it really closely. We're shooting flashbacks on a short this week (main shooting in July)... will need to get before then! IT's just good to hear more thumbs up for the Irix. Seems to be closest clean glass to the Sony in a similar price range
