Have you guys done a side by side comparison between these Meike Super 35s and the more expensive Meike Full Frame Cine Lenses? I’d be curious to know if twice the price is worth getting Full Frame versions. I haven’t see anyone do that comparison yet.
it's amazing that these even exist! 20 years ago the idea of "cinema camera" was a conversation for the wealthy or the privileged. Today, we got options like this set that would have been the equivalent of a couple days rental back in the day
Yes it's amazing ..I think it's credit cards that has transformed consumerism ....how many people need cinema cameras...photography has always been a "ritual of passage"
And after all that good SD-Cameras from early 2000s such as Canon's XLs I'm even thinking of buying the next big 4,6 or 8K-Camera without thinking about the Story. So Sad! ;/
@@ipodhty Because even though you will become homeless after racking up credit card debt, at least you'll have a beautiful set of lenses to enjoy on skid row.
Excellent insight into this set of S35 primes. Thank you for posting! Please consider comparing some “affordable” FF cine primes like Irix, DZOFilm, Meike FF vs the compact prime standard - the Zeiss CP.3. I would like to see how they compete. Thanks!
Wow, it's hard to know which was more amazing - the lenses - or the video which presents relevant detail about them with such skill and style. Thank you.
By the time I stumbled to this video these are seemingly the step above from Cinema lenses options coming from SLR Magic and 7artisans. I believe these come at a similar price to the 7astisans. I'd like to see you doing a comparison between these and those other two brands, from what I've seen Meike is very appealing because of the consistency between focal lengths, those other brands I can't relly tell if they do that as well.
Thank you for posting this video. Request for a review of the Irix cine primes. Please compare them with the Meike, DZO and possibly even the higher priced Zeiss CP.3's or Sigma cine primes. Curious how they stack up. Thank you!
Thank you for this great review!! Would you guide me on this: How do they perform on a C70 with Speedbooster? I am willing to get the 18 mm and the 25 mm, but I would like to understand better how they would perform, are their focal lengths pushed forward, and what happen with their brightness and aperture, do they gain as well? Thank a lot in advance. Became a big fan. Cheers.
I had an emount Veydra 35, super 35.It was OK. Now I have the Meike 35, super 35 and its night and day better. (fS5) Looking forward to the wide angles.
Great review guys. I’m very interested in picking up this set for my Komodo. Any word from Meike about when the complete set will be released. The timeline on their website is outdated.
Which are John Mctiernan's favorite anamorphic lenses? Think:Die Hard 1 & 3, Red October, Thomas Crown, etc. If I were to replicate that look what am I in the market for?
for a BMPCC 6K G2, would you recommend going for the S35 versions or go for the FF Cine Primes? Are there any benefits to going FF on the Blackmagic's S35 sensor?
For my Fuji X-H2S: I'm in doubt between these S35 lenses from Meike and the 7Artisans Vision (which maybe has more "character", I don't know, but maybe less sharpness). What do you think? Have you ever made this comparison?
The Meike MFT lenses reworked some of the Veydra designs, but those lenses were for mirrorless only. These S35 lenses are a new design, made specifically for EF and PL mounts.
@@_rhapsodist yes the Veydras cover S35 from 25mm upwards, but were designed ONLY for a mirrorless mount. You cannot mount Veydras onto EF or PL mount. The S35 lenses made by Meike are a new design, made specifically for EF and PL mounts.
Yes you will be able to use them with Speedboosters on MFT cams like the 4K, just make sure to grab a 0.71x as a 0.64 may vignette some S35 lenses and I haven't tested the Meike S35's with a 0.64 SB on the P4K. Jake
can someone help me? If I want to adapt Meike cine lenses to my Fujifilm camera is it better to go with these super 35 lenses as it matches the sensor size, or to go with full frame ones with speedbooster? Or can any of this be done or I am talking gibberish?
I enjoyed the Meike MFTs when I started my journey into cinematography but now that I’m much more experienced the flaring is unbearable. Looking to offload my whole set.
Cameraman: I want a lens that has no vignetting, works for super high resolution and has a blurry bokeh. *Post production editor: Lets add some vignetting and downscale to 720p. If only cameraman had focused the whole frame, then we could make the background have a helios bokeh.*
@@rayterry7 this link compares the Meike FF / 135 lenses with DZO primes, but is still a useful comparison. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-AZ9QjFawqlE.html
Excellent detailed review....may I suggest ..presentation is ,"reserved". ..if you seek viewing figures those across the pond are more "forward" ....perhaps a second channel ...different name ...In depth deep reviews of a single "consumer item" are popular...also matched to large sold volume ....Sony A3....It's long known after camera purchase decision ...more the better....Q: micro 4/3 is adequate ...but who would have thought full frame ...purely fanned by RU-vid and bloated presenter eagoes...
@@IndioA 27mm is the most used focal length for Super 35 in the cinema world. Sure 25mm would be close enough if I had an actual 1.5x crop Super 35 sensor. But most “Super 35” sensors nowadays are somewhere between 1.27 and 1.4x crop. Which won’t give the the angle of view I want.
@@VariTimo yes, but there is no 27mm neither in s35 or FF - not from DZO, not from canon, and from arri only the masterprimes (and i hope you know the price +g*)
@@IndioA 27 or 28mm then. Most high end sets have those and for a reason. And it’s not more expensive to produce a 27mm than a 25mm. It has been around forever and if you ask DPs what their favorite focal lengths are, every second will have a 27mm in there.
@@VariTimo first, i'm 37 years in filmbusiness, and the focallengh DPs most wanted are 32 and 40mm second, you can get your lengh, but not as a lens UNDER 1000 dollar - meike is not an high end set, its very, very good for its price
@@CVPTV sorry for my language. I really like you reviews. For me personally, I’d like to see them on a intended s35 image circle sensor, so I can decide for myself is it worth to invest in. But showing them in a FF sensor gives next to none value. Why waste time talkin about their performance on FF when this is not their intended way of use
For EF-Mount?... I think people will enjoy those lenses more if they would have an aperture T1.0. Even T0.95 (We really need those aperture for those x1.5 Crop Super35 Cinema Cameras EF-Mount with really bad low light perfermance, not T2.1, There are a lot them out there on the market). In EF-Mount system people don't have faster lenses like MFT, X-Mount or E-mount do. Other problem is the Convertion Factor of those lenses. More than 90% of Cinema Camera with EF & PL Mount out there have a Super35 Crop Mode, not Fullframe mode. For those Cinema Cameras (EF) it would be even better ant suitable having lenses with Convertion more suitable For Super35 mode system (x1.5), like the X-Mount Fujifilm Do. (16mm, 23mm, 33mm, 56mm) and not 24mm, 35mm, 50mm & 85mm planning for fullframe Cinema Camera, that don't even existe really on the market.
It is much harder to make fast lenses for EF and PL mount, this is why lenses made for mirrorless are generally faster (and lighter weight). To make these lenses rated at T1 is practically impossible and the physical size, weight and cost of the lens will increase substantially. Also why do you think you need 0.95 for S35 cameras? There is more to cinema than insanely thin shallow DOF. A lens that is usable at T2... is a fast lens. These are also cinema lenses... cinema involves "lighting". Low light shooting is a very small part of cinema shooting. The increase in cost (and weight) if these lenses were rated T1, would be far greater than buying / renting additional lighting. Ask yourself why are 90% of cinema cameras S35.... because S35 is "full frame" for cinema. S35 is the standard and the baseline for cinema cameras... LF, VistaVision,135 has a 0.7 comparative crop from S35 (4 perf). Full frame being the standard is a post DSLR myth. Nothing wrong with FF / 135 / VV / LF - but stop worrying about it and stop comparing all your choices to it... it's pointless. Also check out the very best lenses for S35 and see where their apertures sit... often between T2 and T2.8. This is true for Zeiss and Cooke lenses, which cost a lot more than these Meike lenses. And 90% of the time, even those lenses are shot stopped down, because that is where lens performance is optimised.