4K Wide Angle Comparisions on the Sony PXW-FS7

4K Wide Angle Comparisions on the Sony PXW-FS7

I walked into Dodd Camera in Cincinnati and they had a Zeiss CP.2 sitting there so I asked them if I could borrow a tripod and do some comparisons between wide angle lenses.

Lenses shot: Sony FE-PZ 28-135 f/4 G OSS, Zeiss CP.2 28mm T/2.1 Sony-Zeiss 24mm f/1.8, Canon EF 16-35 f/2.8, Canon EF 24-105 f/4.0. This was shot in Cine EI mode using S-Gamut3.Cine/SLog3 and exposed at 61% IRE for whites (41% grey card). I shot this rack of color rolls and focused in on the Mardi Gras bar code. The Litepanel was on the same plane as the Mardi Gras.

Basically this is a rough cut and unscientific resolution test. I think though there is something to be learned by looking at the results. Each shot shows it as recorded, then with the LUT turned on in the native FCPX info settings pane and minimal adjustments to saturation and exposure. You should probably download the 4k footage to get a decent idea of what you are looking at.

I liked the overall image of the Zeiss CP.2. I was surprised at how sharp the Canon lenses were by comparison, really not too shabby. The sharpness of the zooms surprised me in particular as I was expecting them to be much worse. One of the problems with stills zooms is breathing and holding focus while zooming. In general cinema glass is easier to focus because of the large range of movement. Coupled with the overall image superiority one can see why the CP.2’s are so popular.

I used the Metabones IV so as to not have any glass affecting resolution. In general I use the SpeedBooster Ultra because it allows for wider field of view when coupled with the super 35 sensor of the FS700 or FS7. Thanks to Hal Barkan of Dodd Camera in Cincinnati for use of the Zeiss as well as the space on their floor to set up. Some wobbling of the image was due to the vibrations caused by folks walking around the camera as the flooring at that particular area of the store was a bit loose.

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