![]() ![]() If you compare Canon, Nikon, and Sony lenses at the same focal length and aperture, Sony will always outperform its competition almost in every category. ![]() Sony lenses are also the best, in my opinion, for hybrid shooting. They have a cinema line using native FE lenses, and even have a fully professional cinema camera, the Sony Venice 2. It’s very hard to beat the Sony A7S III and FX3 when it comes to features, ergonomics, image quality, and weight, and this is coming from a Canon and Leica fanboy. I think today it’s not even debatable anymore Sony has the best mirrorless system when it comes to full-frame video and stills. Choosing a system Sony Cinema FX Line : FX9 FX6 and FX3 ![]() So ultrafast lenses have really become effect lenses. You might need to have a lot of blur, but even Arri Signature Prime Lenses are “only” T1.8 across the board, and those lenses are very expensive and have materials that lose value faster than gold. Arri Signature Prime Lenses costing over 27000 dollars each Superfast lenses are not necessary these days, since high ISO is so clean now. So 16-35mm zooms or equivalent tend to be the first choice for content creators. Video tends to need more wide angles, especially without a set and a fourth wall setup. For digital photography, I used to have 3 Nikon prime lenses: a wide-angle 24mm, a standard 50mm, and a short telephoto 85mm, all ranging between f/1.8 and f/1.4.įrom my experience, photography and video lens needs are very different, both in terms of focal length and aperture. ![]()
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