Sony 28-135mm Cine Lens – Exclusive Hands-On Interview from cinema5D on Vimeo.
Cinema5D posted that Video Interview with Mr.Ueda from Sony. The talk is about the new 28-135mm FE powerzoom lens. Cinema5D also had the chance to test the lens:
The aperture F/4.0 seems to go all the way through, unlike Canon’s own and frequently used Canon 24-105mm that gets darker at the far end. The images appear very sharp and clear and we couldn’t see any obvious chromatic aberration or softening at F/4.0. We were told it is made for 4K applications. Overall the lens feels very well manufactured and strong.
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New Sony stuff preorders:
Zeiss 16-35mm FE at Amazon, Adorama, BHphoto, Sony Store US.
Zeiss 16-35mm FE in Europe at Sony DE, UK, ES, IT, FR, CH, AT, NL, BE, FI, SE, NO, PT.
28-135mm powerzoom in Europe at Sony DE, UK, ES, IT, FR, CH, AT, NL, BE, FI, SE, NO, PT.
Sony FS7 4K camcorder at Adorama.
HVL-F32M Flash at Adorama, BHphoto.
HVL-F32M Flash in Europe at Sony DE, IT,
Sony RMT-VP1K Wireless Remote Commander & Receiver Kit at Adorama, BHphoto.
Sony XLR-K2M XLR Adaptor Kit (with microphone) at Adorama, BHphoto.
Sony LCS-PSC7 System Bag (Black) at BHphoto.
Loxia at BHphoto:
Zeiss Loxia 35mm f/2 Biogon T* Lens for Sony E Mount (Click here).
Zeiss Loxia 50mm f/2 Planar T* Lens for Sony E Mount (Click here)
0 Responses
Mr. Ueda, that’s a nice lens, but most users want to know if Sony still supports A-Mount.
“This lens is great”.
But Mr. Ueda, why isn’t there any mention of A-Mount at Photokina.
“Buy this lens. It’s great”.
Mr. Ueda, Sony has given their best technology to Nikon in three different 36mp versions for a couple of years now. A-Mount users watch as their loyalty is rewarded by Sony betraying them to our competition. You know how competitive it is out there for photographers right?
“Have you seen our new lens? It’s great”.
It’d be actually funny if it weren’t so true.
Earlfukass, stop feeding your fellow trolls.
Actually, it’s great that Sony, as a company, is killing off the A mount. That way they will be better able to focus their limited resources on the more-promising development of E-mount lenses. Better to go with a brighter future than a dying technology.
Sony is shooting themselves in the foot by relegating themselves to the mirrorless leagues.
Sony could be right up there putting pressure on Canikon, but now they will be competing with the likes of Fuji and Samsung.
Mirrorless is the future!
Yeah, the older I get, the less mirrors I want …
Sony has been a far third in the dslr game since their inception. At this point, when the game itself is dying, why continue playing. On the other hand, they currently are the only game in town when it comes to full frame mirrorless, save Leica who doesn’t really compete in the same market. Why not put all your resources in an area you can completely dominate rather than one you have always struggled in? By investing purely in E mount, Sony has a chance to change the landscape by themselves alone.
Why are you still talking about the dead A-mount, the topic is a new FE lens. Stay on topic or STFU.
Looks like an all around great lens for bright outdoor situations. Wish Sony would include all these great little features on more of its low F Stop lenses for indoor scenarios.
Mr. Ueda (whoever you are), I think it’s fair to say that the only thing we need to hear right now is the Sony’s plans regarding A-Mount.
Please do enlighten us.
As for the 28-135, I don’t want to sound rude, but couldn’t give the furry crack of a rat’s behind.
Thank you.
I second that!
So why did the chicken cross the road? He was the last remaining Sony a-mount engineer heading for the unemployment office.
No, really why did the chicken cross the road? He was dumping all the a-mount stuff in a ditch across from Photokina.
No, seriously why did the chicken cross the road? He was a former a-mount owner visiting a Nikon store to get his hands on Sony’s fine 36MP sensor in a DSLR body.
It is G class lens like 18-105 f4 with the same distortion . I hope this time we get something different . Sony when will you fix 18-105 f4 ??????? SHAME
If you play it backwards he says “A-mount is dead”
Also “I buried Paul” but I’m more worried about the a-mount’s demise.
I wish someone can tell me what he says when you play it forwards though.
He clearly says he is the product manager for sony pro camcorders. There are no Amount camcorders, so why would anyone ask him about A-mount?
haha, *THIS*!
Sounds like an amazing, all-purpose, walk-around lens. A shame they could go wider and make it a 24-120mm instead. Much rather have that extra width than the extra tele. Still, if the price were to come down a bit I will consider it.
They already had this lens years ago… Its called the “Secret Handshake”.
Yes The Secret Handshake. Used by Freemasons. Lens had a built in spirit level to check that they ….were on the level…..
Apart from FL they really aren’t the same thing at all.
Yes, it would make it quite a bit more useful for video work with S35 sensors.
Sony = The next Enron. Don’t Invest !
Yeah, that guy looks like a guy you can trust. He’s winking full time.
“Hey Mr. Sony exec. Will Sony continue the A-mount?”
Sony exec.- “Of course we will” (Wink)
How do you control “8 zoom speeds” with one small rocker switch?
The rockers on ENG lenses like this (I’m avoiding calling it a cine lens) are highly controllable in that depending how deep it is pressed controls the speed in a nice analogue feeling way. It enables nice smooth punch in and this lens is parfocal as well so no focus shift as you zoom.
That tiny slider is variable? it has a very short travel distance. Im concerned about it.
Love how he called it a “low cost” lens! Waaay too pricey for me!
But he is right, compared to the competition in its segment, it is dirt cheap for what it does.
Cheap compared to competition, but still expensive to consumers. I think it needs to drop at least $500 to fully get noticed.
That would be because it isn’t being aimed at consumers! Is being sold as the kit lens for the FS7 after all.
Ok, not quite consumers but “enthusiasts” would be a better fit. Professionals would be in a much higher price class.
No, is for professionals. As I said, it comes with the FS7.
You should look at what other “professional” lenses are priced at to compare. Clearly, at least in my book, this Sony lens is aimed at a much more “enthusiast” user than a “professional” one.
http://www.bhphotovideo.com/c/product/889684-REG/Canon_CN_E30_105mm_T2_8_L_S_SP.html
Professional features at an enthusiast level price if you wish then.
Love this lens and must have it for video which is what I do.
Have been waiting for over a year and a half for such a product from Sony
and thought the 18-105mm was going to be the one, but I was sorely disappointed by the barrel distortion it has and couldn’t believe that they released such a lens, (especially with the G on it).
The downside of this new 28-135mm lens is that it is full frame, which makes no sense at all.
On a Super-35 sensor camera it’s actually a 43-203mm lens which is less than ideal,
one doesn’t need 203mm when shooting most interior scenes, such as a drama in a living room. It would be great if they made a wider sister lens to this at f4 that was very very wide to start with. Perhaps they’re chasing Canon, but their recent obsession with full frame format is
super useless to film makers and after all, how many photographers are going to use this for stills? Even the VG900 being a full frame video camera makes no sense.
Full frame is not the ideal format for film making and I wish that Sony would show a little more love to Super-35 as I don’t believe that they’ve release much of anything in that format over that last year.
The irony of the canon 5D is that it empowered many new people to make films for less,
however with the full frame sensor, keeping anything in focus is now harder than ever.
If it’s a Cinema lens Sony… then please design it for Cinema formats.
well according to your statement it’s not the best thing for video .
Sony trys to squeeze everybody in a Hybrid-System which does suits noboby neither stills nor video? I’m a photographer and I’m not in this lens but i would like to see a 36mpix in a ergonomic body.
I don’t need a rag for stills
Not sure why you think full frame can’t work for video. If it can work for stills, then a moving image can work for video as well. In any case, the user gets more control over DOF with full frame.
Well of course you can shoot video with full frame, but I feel one can often have less control over depth of field with full frame. (The longer the diagonal length of a sensor = less depth of field possible with the same lighting). The larger the sensor, the better your camera assistant must be at following focus.
The reason I appreciate the DOF of Super-35 is that it’s what movie audiences have been used to seeing in theaters for over a hundred years.
16mm has more inherent DOF than 35mm motion pictures, which has more possible DOF than VistaVison (full frame), which has more than Imax, which has more than a 4×5 view camera, etc.
Look at “Act of Valor” a film shot full frame with the Canon 5D, it’s often difficult to watch because only one or two actors are in focus all the time and everything else is blobsville and totally out of focus.
From my perspective, super shallow depth of field is an effect to be used sparingly, and only when necessary in the telling of a narrative film.
Using full frame when you’re shooting a group of actors in a low light situation puts you up against the wall focus wise, because the optics simply cannot hold focus, and these days, one is often lucky to even get a camera assistant with today’s lower budgets.
The opposite is also true, with a tiny chip sensor such as older news cameras, or let’s say Super-8, everything is in focus, which the audience perceives as cheap. That is when you have damn near no control of DOF.
Anyway, I hope you don’t feel that I’m attacking full frame, it’s just not what I want to buy or use for shooting narrative films. Look at Sony’s own “professional” movie cameras the F65, F55, (used by Panavision) the F5, the FS100, the FS700, and the FS7, they’re Super-35, look at the Alexa, Super-35. Now why would Sony create this new zoom for a different sensor size?
(I think someone in the marketing department at Sony, not a film maker, made this happen, and I feel it a mistake).
Get the 16-35mm and you’re done. A two lens combo. Hard to beat.
I had this in my hands at Photokina and was surprised how “light” it actually is (considering the size). I can see plenty of use also for time lapse with focus/zoom/aperture control in the combination with the A7S – which is what I am saving up for from now on 😉
In fact, I appreciate the full frame here!