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.
Cinema 5D has released a post and a video comparing the Zeiss Batis 18mm, Batis 25mm and the Loxia 21mm for gimbal work. We find 24mm is about as wide as we like to go for video without having to spend a lot of effort to keep things looking natural and undistorted. The camera used was the Sony A7s II.
The optics are designed to ensure full utilization of the performance provided by high-resolution camera systems.
Zeiss has recently released a new line of lenses for Canon and Nikon mounts (and of course these lenses can be adapted to other mounts such as Sony).
While some of the optical formulas remain the same as the previous generation, build quality and weather proofing has been improved, as have the coatings and flare resistance. The 50mm F1.4 and the 85mm F1.4 however have improved and updated optical formulas. More lenses are expected to be released in this series.
For video applications these lenses have a “switch” like the Loxia line to de-click the aperture and aperture and focus movements are quiet.
ZEISS Milvus lenses feature a large rotation angle which enables pinpoint focusing. The top-quality focusing mechanism moves smoothly without backlash, optimally supporting the photographer’s creative interplay with the focal plane of high-speed fixed focal lengths. Changes are immediately visible in the viewfinder or display. The engraving in meters and feet, and the focus scale provide additional support for manual focusing. The silent, continuous aperture setting (de-click function with ZF.2 mount) and the long focusing range lay optimal conditions for video photography.
Street price is around $1800 (US Dollars) each.