This was shot in Cinelike D on the GH4, 4K with the micro 4/3rd 16mm Veydra Mini Prime Cinema Lens. Cinelike D is a pain to grade, I'm leaning more toward the Natural settings from now on...
We are most excited about the new Sony E-mount as it will enable our customers to use the small form factor and high quality 4K+ optics of the Veydra Mini Primes on Sony E-mount cameras like the popular Sony A7RII in 4K crop mode and APS-C cameras like the FS100, FS700, and FS-7.
Digital Bolex D16 and traditional S16 film camera users will also benefit from a similar two-piece C Mount option that will be available for all Veydra Mini Primes from 12mm to 85mm (the 50mm will require its own dedicated mount due to glass elements in the mount itself).
@Brian_Siano - Sorry for the delay. Busy, busy!
For me it's just a basic principle of value and utility. Lenses can be long term equipment investments--particularly manual lenses. They will likely outlive several generations of cameras without losing their value. A M43 lens can only be used on the M43 system. There are probably some lenses where this is fine either because the auto-focus features are valuable or because they are very well engineered for the M43 system--like the Voigts.
I haven't tried these lenses, perhaps they are amazing. But I would personally not invest that much money in a M43-only set of lenses when I could get a set that would work on multiple mounts and thus be more future-proof. A Canon EF or Nikon G-mount version of a similar lens would fit a lot of cameras down the line. They would also give you two focal lengths on a M43 depending on whether you use a focal reducer (like Metabones) or a straight adapter.
Just one guy's opinion.
@brian_siano Just looking at the pics of the rokinons you would have to reposition followfocus when swapping lenses for the older vesion. http://www.bhphotovideo.com/images/images500x500/rokinon_rokinon_t1_5_cine_lens_1097165.jpg
Looks like the new ds ones have the same gear placement according to b&h: Industry standard focus and iris gear rings share a common position across the lenses for quick lens swaps when working with lens accessories such as follow focus units.
from http://www.dvinfo.net/article/acquisition/micro-43/rokinon-cine-primes.html:
"Do they have the consistency and interoperability of dedicated cine glass? No. You’ll need to reposition your matte box on lens changes; distortion and bokeh will vary more between Rokis than between Veydras or Ultra Primes or Cookes; go wider than 24mm or longer than 85mm and your maximum aperture will shrink. But at $570 each, it would be small of me to complain too vigorously."
@DouglasHorn I have a question. I've been considering buying a Roki cine lens in the near future, and I'm weighing that against the added cost of the Veydra line. But, if I go the route you seem to suggest, I might be better off with a Metabones adapter and buying Nikon or Canon lenses.
If i did this, would there be any drawbacks with, say, gearing and follow-focus?
They look great. I've been planning on a Roki puchase soon, so here's what I gotta weigh:
Price: Roki has the advantage here. Speed: These are f2.2, Roki's in the f1.7 range. Form factor: Veydra Quality (including breathing): Veydra
I'm surprised they're not doing an anamorphic adapter that'd work for their form factor.
I like the look. The rendition has character, but for such a small image circle in m4/3 this lenses have many basic issues like chromatic aberration, not the same color uniformity, breading, and even some fringe.
This are a good setp up from the rokinon set for any one looking for a more sturdy lens, with proper external implementations, such as good markings, metal casing, good gears, and generally better build.
They are not clinical lens at all, and that may be their main benefit, even though i find it stupid to make such optical mistakes on such small lenses, high computing models should help on this regard.
I would buy them if the complete set is on a good price, mainly for not renting out sturdy lenses for heavy use in deserts or jungle.
About the anamorphic option lets see what happens on that one.
PR
Micro 4/3 sensors offer many advantages for shooting both stills and motion content including smaller camera >sizes, and lower production cost for higher quality lenses than their Super35 or Full Frame 35 sensor >equivalents.
With upsides come downsides which include a decreased field of view when using the same focal length you >might on a larger sensor. For example a 25mm lens on a Micro 4/3 sensor will create an equivalent field of view >of a 50mm lens on a Full Frame 35 sensor.
Due to the limitations of focal length and field of view the smaller sensor creates, Veydra has manufactured the >world’s first true cinema lenses made specifically for Micro 4/3 cinema cameras including the 12mm Mini >Prime. At Veydra we recognize that 12mm, while wide, is not wide enough for some applications.
For this reason, we are pleased to announce our ongoing Veydra Lenses Wide Angle Project with which we >endeavor to make the perfect wide angle cinema lens for Micro 4/3 sensors. We are in the final design stages of >completing a new Wide Angle Veydra Lenses Mini Prime. It will be either an 8.5mm or 9mm and likely feature a >T2.4 maximum aperture.
Wide angle lenses are exceedingly difficult to design particularly in the aspects of chromatic aberration and >other issues associated with light striking a sensor off axis. We should be finished with the design and show a >prototype in the coming months. We hope to ship the new Wide Angle Veydra Lenses Mini Prime sometime in >early 2016 and will retail for around the same price as the 12mm Mini Prime.
Source: http://www.veydra.com/news/veydra-nab-2015-announcements/
Since I didn't see this anywhere on personal-view, I thought I'd add it to the Veydra thread.
Specs
PR
Veydra Mini Anamorphic 2X Project: Anamorphic for Everyone The Veydra Mini Anamorphic Project is an ongoing development project to manufacture true 2X Front >Anamorphic lenses exclusively for the Micro Four Thirds camera bodies. True 2X Anamorphic Lenses offer the >ability to captured a horizontal field of view that is twice as wide as the given focal length that is then >“unsqueezed” to a “normal” looking image that has a wider screen cinematic aspect ratio like 2.39:1. This >concept provides an increase in vertical resolution as well as the ability to minimize digital noise when the >anamorphic image is corrected to a “flat” or normal looking image. There are also creative implications as the >out of focus image (bokeh) when using the 2X Front Anamorphic Veydra lenses which exhibit the traditional and >desirable oval shape providing a surreal look and feel to the image around your in focus subject.
True 2X Anamorphic shooting presents several advantages to your final image over standard spherical lenses for >2.39:1 CinemaScope output.
Using a standard spherical lens and simply letterboxing the 16:9 image for 2.39:1 CinemaScope, you lose half of >the image height and therefore must frame very wide on top and bottom of your image to accommodate for the >crop for final display. When a 2X anamorphic lens is used, you achieve a 2X squeeze of the image horizontally >and a resulting 2X increase in image height which allows you to frame more closely to the final image output for >CinemaScope. You can later “de-squeeze” the image from the 2X anamorphic lens in Post Production into the >final desired 2.39:1 CinemaScope format while maintaining your original image height.
Another advantage to shooting Anamorphic lenses are the more widely known desirable image effects such as >“anamorphic flares” whereby light flares are imaged in a stretched line of light across the image. This is >sometimes referred to as “anamorphic streaks”. The Anamorphic lens also creates an oval shaped bokeh or out >of focus background which is very pleasing to many. Anamorphic lenses also create a separation of the subject >from the image background which can be described as closer to 3D imagery than it is to a 2D image. All of >these effects combine to make shooting with an anamorphic lens far more desirable than using spherical lenses >for 2.39:1 CinemaScope output.
While shooting Anamorphic has its advantages, until now the major drawbacks have been availability of lenses >and cameras that could be afforded by most. The options to date have been to rent or buy the exceptional >performance, yet exceptionally high priced, cameras and 2X Anamorphic lenses from highly regarded >manufacturers such as Arri, Cooke, Zeiss, Hawk, and Service Vision. The combination of these cameras and >lenses could land you near $200,000+ USD to own and shoot true 2X Anamorphic. These options remain by far >the highest quality and true anamorphic shooting experience for those with the budget to do so.
Panasonic recently made Anamorphic shooting available in their GH4 camera via the 4K Photo Mode which >currently allows for 4K UHD video shooting in 30p frame rate. This has drastically cut the price of the camera >component of the anamorphic system down to under $2,000 USD. The missing link is now affordable true 2X >Anamorphic lenses to take full advantage of this offering.
Other manufacturers marketed some more affordable anamorphic options via 1.33X and 2X anamorphic >adapters that are intended to go on the front of camera lenses. The issue with anamorphic adapters, and main >reason that Veydra will not offer an adapter at this time, is that front mount Anamorphic lenses feature two >nodal points of focus and therefore the spherical lens AND the adapter must be refocused for each change in >focus in the scene. This makes common image effect tools in cinema such as focus pulls and camera movement >nearly impossible unless you are shooting at a depth of field and camera position where movement and change >in focus are irrelevant. Focusing both the lens and an adapter greatly limits your options as a filmmaker.
Adapters must also be made for a specific focal length even further limiting your lens choice options and >alignment of the anamorphic elements is critical for optimal image performance. This leaves too many variables >for getting it wrong and destroying your image. Further complicating the anamorphic quandary is the issues of 1.33X versus 2X and front mounted versus rear >mounted anamorphic cylindrical elements.
1.33X anamorphic adapters and lenses are designed to create 2.39:1 CinemaScope from a 16:9 aspect ratio >sensor when de-squeezed in Post Production. The major issue with this 1.33X squeeze of the image is that it >only gives you approximately a 30% increase in image height and limited image effects like the desired light >streaks, oval bokeh, and subject-to-background image separation that you get from a 2X Anamorphic lens.
Anamorphic lenses with the anamorphic cylinders placed in the rear sections of the lens are offered by some >lens manufacturers as well as 3rd party adapters. These can be a powerful tool for adapting existing spherical >lenses however you lose 2 f-stops of light due to the increased distance in the rear of the lens to accommodate >the adapter and the Anamorphic effect is not as strong as a true 2X front mounted Anamorphic optical group.
All of these reasons combine to explain the logic behind the Veydra Mini Anamorphic Project. A front 2X >anamorphic lens free of compromise thus making Anamorphic shooting available to everyone for a fraction of >the price of the nearest substitute lens in other formats.
The first focal length we will make available is the Veydra Mini Anamorphic 2X 25mm T2.2 M4/3. This will >feature the Veydra Mini Prime 25mm base optics in the rear and have the 2X anamorphic group in front. All of >this will be housed in a single lens with a single calibrated focus scale available in Imperial or Metric focus scale >with proper focus gears and movement for motion pictures production. All the same attention to detail found in >the Veydra Mini Primes will be carried over the to the Mini Anamorphic including 0.8 module iris and focus >gears, same maximum T Stop on all focal lengths, similar length, same outside diameter for quick lens changes, >plated brass Micro 4/3 mounts, high quality aluminum housings and the finest optical coatings for maximum >image quality.
The Veydra Mini Anamorphic 2X 25mm T2.2 M4/3 should be available at the end of 2015. We will >simultaneously develop other longer focal lengths with the aim to make a 3 lens set available sometime in 2016. >Expected pricing per lens is to be around or under $5,000 USD per lens.
Source: http://www.veydra.com/news/veydra-nab-2015-announcements/
@DouglasHorn and @Shian +1 I agree completely.
Also for the cost and specifically optimized for the M43 image circle I am not impressed with the f stop nor the amount of breathing I have seen in early tests. The build quality, uniform size & gears is not enough for me to consider such lenses.
@Douglas Horn, spot on assessment.
If anyone is going to definitely buy a lens or two from their website before July 31st 2015... send me a PM.
I'm actually very impressed by these lenses so far. I do wish they were APS-C tho.
The beauty of MFT is its adaptability. Until more sensors of APS-C or larger are offered in a MFT mount these seem rather dubious investments given the cost.
Sure m43 is good and will only get better with time, but any investment in lens technology should just go into making better mounts and focal reducers. The great glass is all made for bigger sensors. Manufacturers really shouldn't limit themselves to these smaller formats. One of the great things about m43 is that you can put almost any lens on it. That's incredible! Why would anyone want m43 specific lenses when you can rent the real deal elsewhere for essentially the same price?
The only possible advantages that native m43 cinema lenses could have would that they might be a little smaller than similar-spec large-frame lenses or they could have auto-focus electronics. Neither of these is really an advantage when you're using cinema lenses that require a large setup and an AC or two to use properly.
I could see using these on the Digital Bolex with a MFT to C Mount Adapter as well. If they made this for FF Canon the price and size would be way too high for many MFT users. Like DrDave said, Wait, but I am very excited about these things.
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