![]() ![]() A lot of creators love to use digital zoom but nothing replaces true optical zoom. “This new lens is so incredibly light and compact, I have no issue including it in my day-to-day kit. “Generally I pack a pretty small kit,” he says. Toth says its compactness combined with the change of perspective it provides makes it a must-include lens for video shooters. If keeping your kit light and small is important to your work, you won’t have an issue with using the Sony 16-35mm f/4 G PZ. Being able to remotely adjust the focal length depending on the scene's composition is so convenient for car mounts and remote rigs where you don’t have access to the camera.” “If I want to zoom while filming I no longer need a lens motor, I can just set the zoom speed in camera to the speed needed and get the effect I’m looking for. “The lens has two XD linear focus motors and four more XD motors to control the zoom,” he says. Alpha Collective member and filmmaker Braedin Toth has put the video features of the new lens to work, shooting various scenes to show its power zoom feature which he says gives him more creative control. The zoom works with your camera to smoothly and silently track fast-moving objects while maintaining focus. What do you get when you combine Sony lens technology with a wide-angle power zoom? The Sony 16-35mm f/4 G PZ, a new lens in Sony’s lineup and a very ideal match for video production and vlogging. Whether you’re creating cinematic films or vlogs on YouTube, or video posts for Instagram and TikTok, here's a slate of zoom & prime lenses to get the job done. Video shooters and vloggers check out the list of lenses below for a closer look at why they each check the boxes for evolved video quality, complete versatility and unmatched mobility. Sony isn’t messing around with these compact masterpieces – they’re built well, they perform well and they won’t overwhelm your kit – especially paired with cameras like the Sony ZV-E10 and Sony Alpha 7C. ![]() It can seem difficult to put together a kit filled with lenses that don’t sacrifice at least one of these requirements, but you can have it all in each of these Sony lenses built with video creation in mind. I did shave away a bit of the plastic flange around the mount.not sure if it made much of a difference.Any video shooter’s wishlist of requirements for their kit of lenses can really be boiled down to three things: they create high-quality footage, they cover the focal range you need, and they don’t weigh you down. For the price a real bargain (does double duty for me on my M4/3 GX7 with fast AF and no vignetting with a 36 to 110 anagle of view.works ok in APSC mode on the A7. The Canon 18-55 IS ii APSC kit lens.FF at 24mm and other than close in, it doesn't vignette very much at all.there is heavy vignetting at 18mm at all distances and it reduces until 24mm when it is only in close.after that it is pretty good.ĪF is slow with my cheap Fotga adapter but useable for me. The last is an oddball that I actually don't mind. Other than that I have three zooms that cover 24mm.an old MF 19-35 that I hardly use now, a old Nikon AF 24-50 lens that is MF on the A7/A7s.not the greatest but might be ok and cheap. this is a wonderful sharp old lens but maybe not the best for landscapes.the cheaper FD f2 and 2.8 24mm lenses might be though. My other 24mm lens.I have a nice old Canon FD 24 1.4 L. I think the best (or at least one of the best) 24mm lenses for FF E mount is the Canon 24mm 3.5 L ii TS-E.a very large heavy (for 24mm) and very expensive manual focus lens but it is also very nice either straight or shifted (full shifted image quality is down a bit but it is still usable).as a straight 24mm it is excellent. ![]() I have a Sony A7 II and want to get a 24mm prime lens. I want to take photographs of landscape gardens.
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