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lenses in this type of tough environment. They feel incredibly well built,” he reveals. In addition to build quality, Sigma’s prime lenses are renowned for their image quality, a sentiment echoed by Neale. “I’ve used the Art lenses in the past and I’ve always been impressed with how sharp and how well those images resolve. “The in-focus areas are pin-sharp and there’s a really nice milkiness and smoothness to the out-of-focus areas.” He was also impressed with the colour rendition and contrast in a variety of lighting conditions. “We were shooting in quite bright sunshine a lot of the time, which means we had a lot of natural contrast anyway, but even when we did lose the sun, and it got a little more overcast and cloudy, there was still good contrast in the image,” he says. Upon moving inside, Neale was also impressed with the speed of the Sigma primes. “Sigma is really pushing the envelope in terms of speed and flexibility. I shot between wide open at T1.5 to T1.8 and didn’t stop down any further than that,
but even the wide-open images were tack sharp. Some lenses get a little soft on the edges when they’re wide open, but I didn’t see any problem like that with these Sigma primes, which is really impressive.” For Neale, this trio of lenses completes a full-frame cine prime range that offers everything a filmmaker could want, not to mention made his life a lot easier. “I had my Red, four batteries plus the three prime lenses all in a bag that I could jump on a plane and fly with, so they’re certainly portable,” he enthuses. “Optically they’re excellent, sharpness is great and the three focal lengths give you the variety you need as a cinematographer.”
ABOVE For the action shots, Neale used the Sigma 105mm T1.5 the most and then the 28mm T1.5
Neale is currently shooting a commercial film in Spain for a motocross clothing brand using exclusively Sigma glass. The shoot was split into three parts: enduro, which features trail riding and big landscapes; motocross, which involves a set track and jumps; and finally some portraiture of the riders modelling the products. With the three Sigma lenses in his bag, he had the perfect combination for the shots he needed. “From an action point of view, the 105mm T1.5 was the lens we used the most. Then the next one was the 28mm T1.5. We used the 40mm T1.5 for the portraiture shot to try and get a natural perspective,” Neale explains. He goes on to commend the durability of the lenses on location. “This type of shoot is probably the ultimate test for a lens, because you’re talking about lots of rocks, stones and dust getting thrown around, but I have every confidence in the
More information sigma-imaging-uk.com vimeo.com/user629736
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