GEAR SAMYANG V-AF LENSES
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Samyang breaks new ground with its matched set of autofocus optics for video WHAT THE AF ARE THESE CINE PRIMES?
WORDS ADAM DUCKWORTH
M ost filmmakers understand just what a set of matched prime lenses means, and the advantages this brings when shooting movies. That is: a consistent size across the range to make lens swaps easier, especially when rigs and follow-focus systems are involved; a consistent look across all the lenses to make things matched and easier to grade; a very fast maximum aperture for shallow depth-of-field and smooth bokeh; lack of focus breathing and an iris with no hard-click T stops; plus an all-manual focus with a precise, linear and tactile feel.
Well, Samyang’s new V-AF optics offer all those benefits, with the obvious exception of the last one – as these are autofocus lenses to fit Sony full-frame cameras. Samyang says that they’re the first AF cinema lenses. That’s debatable, as there are some servo cine lenses around if you look hard enough. But the Samyangs are definitely the first set of matched cine-style lenses built for filmmaking with AF. They’re ideal for owners of cameras like Sony’s mirrorless A7S III, hybrids such as the FX3 and FX30, plus cinema cameras like the FX6 and FX9. Users of these are increasingly
CONTROL CENTRE These Samyangs have a two-position M1-M2 mode switch and a focus hold button that can be programmed
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