We really do like Fujinon’s lenses and we wish they made more cinema products.
This review covers both photography and videography. Personally, we’d rather have the Voigtlander 40mm F1.2 manual focus lens for video. Not because the Zeiss is bad but because the Voigtlander is better (in our humble opinion and for our needs) and obviously brighter. Still, the Zeiss is a good looking, versatile lens with autofocus.
Well, a 100-400mm lens to be precise, but given the sensor size it serves as a 800mm equivalent (although the subject of equivalency is debatable). I prefer super 35 sensor sizes, but the m43 system has a lot of affordable options going for it.
The video author does make a good point, we’ve never had anamorphic lenses in combination with a camera this good as this total price point. If you are after the anamorphic look then you could grab just one of these lenses along with the GH5.
This video shows the SLR Magic 25mm F1.4, 35mm F1.2, 50mm F1.1, 75mm F1.4 in action. Unfortunately it’s not labeled for which lens is used for which segment. Nonetheless it shows the general look you can get from these excellent budget lenses. We find the 50mm to be the weakest link. The camera is the Sony A7R II.
Unlike our last post where we stated the version II of the Panasonic lens is the better choice, this video indicates that version I may be the better option for video shooters (and cheaper):
The following review covers both stills and video, but as you will see, if you need a long, cheap, and relatively small zoom lens for 4K video, then the Panasonic 100-300mm version II is a viable choice:
We generally don’t like going beyond 24mm for wideness on video, and even at 24mm when things come to close to the lens they start to appear abnormal in a way the viewer will notice. Yet one cannot make hard rules for film making and ultrawides can produce speciality looks as like seen here: