So tell me, this looks like super sharp and yet the background seems like soft
and nice. I mean, it pops out. Absolutely, and this is because we shot
that wide open on the 35mm in the bright sun, and this is very unusual and
this can only work on full frame because only full frame the censors big enough
that you get a distinct difference in terms of depth of field.
in this kind of long shot, so this is new territory.
They're quite light, actually. Yeah, oh wow, super light.
We have locations that are a big big challenge in terms of an incredible dynamic range the lenses
must cope with in the FF full frame format. We want to see how their
dimensionality is evolving, we want to see how they cope with very hot
backgrounds in terms of flare and sharpness, we want to see how they deal
with skin tones especially in terms of cosmetic feel, so this is all, you know,
the reason why we set up this project.
It's not like that that every lens out
there renders, you know, because it's saying 35 millimeter focal lens on it
renders equally, so they have lenses which are particularly flat and other
lenses which show a distinct field of 3d three dimensionality. We cinematographers
and directors love three dimensionality because it draws us much more into the
picture, like for instance flatness but then
there are times when you want flatness, so it's always good to have choices but
the Sumire Primes are especially well suited when you're looking for dimensionality.
You immediately discover that they are very lightweight. Then you will feel the build
quality, which is what I would describe senior professional. Then you will find
they I have an open f-stop between 1.3 and 1.5 which is high speed, super speed.
Mount wise, you can mount them on PL or you can have them interchangeable within
EF mount, so they are prepared for any kind of full format production.
90 degrees, 180 degrees.
It's just about, I think 300 degrees.
We went through the paces with the lenses, so we were really relying on
nailing the focus manually while operating the lens and the camera,
while shooting, so there was no measurement, there was no
focus pullers. All operator handled, and then went well, astonishing well, and then
- after this, they have a very short distance, so for instance the 14
millimeter radical white angle is almost a macro lens. The flares are so nice and round.
It's part of the design.
It's even more pronounced in this long shot. Look at this. That is beautiful.
This is a long shot where you see all the dimensionality these lenses can deliver,
so what happens here is; you've got the sun and it's not burning
badly because you know this is due to the fine dynamic range and the wide
rollers of the C700 but then you see these very very nice flairs here
They are sharp. It's all shot wide open. This is a sharp but
the tree is out of focus. Softly out of focus.
Chromatic operation is there but just a tad and it is very very well controlled. The spherical
operations, like for instance barrel distortions, there's nothing to see in
lenses, this is absolutely well done. Especially the 40mm is a
virtually rectal linear lens that gives you the wide shots, which don't barely distort at all.
Very very harsh contrast. If you turn back, you will see what's
happening. So if you turn back to me, this is about difference
about five to eight stops, something like like that. We are not also
testing the lenses and how they relate with such a light, we also testing
the dynamic range of a camera , the C700 FF.
With the Sumire Primes, they have a very nice round bokeh. This is because the iris
is very round shaped and Canon put a lot of effort into this to create a nice bokeh.
Even bokeh lovers, people that really love to shoot all the time bokeh,
will have a nice experience.
These lenses are kind of a modern interpretation of the best vintage
lenses out there. They deliver plenty of sharpness but they still have this kind
of vintage personality, and that is what many many of us are after.