- Hey there, Caleb Wojcik here from DIY Video guy
and I'm in the studio looking
at the Veydra Mini Cinema Primes that are available
for mirrorless cameras.
I first saw these at NAB a couple of months ago.
I reached out to the company,
said I wanted to test out some of the lens.
So I have the 35, I have the 50,
and I have the 25 millimeters here.
And these work really well
on super 35 cropped mirrorless cameras
So I'm going to be shooting the A7R II here
in the APS-C mode where it's cropped in a little bit.
So these become an equivalent of 37.5,
52.5 and somewhere in the 70 millimeter range,
because they are cropped in.
So I will be showing you guys how these things work.
What's cool about them, how they're all the same size
and the gears are all the same.
So if you're going to use matte boxes and things like that,
these are some pretty cool lenses for way cheaper
than getting the actual bigger cinema lens
like the Ultas or any other brand.
They offer a handful of different mount options for these.
These are E-mount, so they will work on
Sony mirrorless cameras, like the A7 series,
as well as up to the FS7 and FS5 series.
But they also offer them for GH4s
and other mirrorless cameras.
And I'm sure over time, they'll evolve into offering
maybe some for Canon or another company.
Now you're not going to get a bunch of automatic features
in these with autofocus and things like that,
because they're built like cinema lens.
They're meant to be used manually.
So you get a 300-degree focus throw,
which means you have to rotate the focus ring 300 degrees
to go from the closest point to infinity.
So you can get really fine-tuned adjustments for focus,
which is even more important as an issue
in 4K and beyond, because even if you're out of focus
just a little bit, it's noticeable.
The other thing to know about the aperture rings
on these is that they are fluid as well.
So there's not going to be the click between different
apertures like there is on typical photography lenses.
So if you're going from a bright environment
to a dark environment and you're on the move,
you can make a move of the aperture ring
and have a smooth transition instead of the clicking
between the different apertures.
When the aperture's wide open on these,
it's a T-stop of 2.2, which is different from F-stop
in that T-stop is consistent between these lenses.
So if you've got a T/4.5 for one shot
and then you change lenses and you want to use 4.5 again
the exposure, the amount of light in the scene
and being captured should be exactly the same.
Whereas F-stop can kind of change
depending on your focal length.
If you've going to be rigging these up with some gear
to be able to smoothly turn the focus ring
or the aperture ring with a dial or a handle
or some sort of remote-control automated thing
that you can control it,
it is a 0.8 size gear, which is pretty standard.
And what's really cool about these
is that no matter what focal length you have,
so here I have the 25 and the 50, and the 35 is right here,
you can see they're the exact same size.
So if you take one off of your camera,
and it has the gears on it for focus and aperture
and you put the other one on, it's the exact same size.
You don't have to move the gears around on the
base plate rods that you have set up.
You don't have to change out the matte box
because now your lens is a different depth.
It's really helpful to change lenses quickly
if you have it fully rigged out
and not have to be able to take everything apart.
A few more technical parts of these lenses,
it's an 80 millimeter diameter around the lens
at the end for matte boxes.
And then the filter threads are 77 millimeter
and it's like that across all of them.
So, you only really need one matte box size.
You really only need one filter size, because you can
change them in between all these lenses.
The image quality on these things is really, really great.
And the ability to get a smooth focus pull
is wonderful as well.
So who'd I recommend
this kind of lens to?
These are perfect if you're focused exclusively on video.
Because if you're doing photo,
you're not going to have autofocus.
You're going to have to move the aperture ring
every time you want to change it.
And they can be used for photo, no doubt about that.
But, if you're in a hurry,
you're going to have to manually focus everything.
So, if you're video-exclusive
and you want to get a more cinematic look,
or you're looking to rig out your mirrorless camera,
or maybe up into a FS7, FS5, something like that
and you want to have smooth aperture rings, big focus pulls,
you're going to gear it out with different dials
and matte boxes and things like that
and you want a set of lenses.
This is a really beautiful set.
And they are really small too.
I mean look at this. This is the 50mm here.
And really, this then gets cropped.
But 50mm to the 55mm from Sony here,
you can see,
I mean, this is a small photography lens
and it's a pretty similar size
and this is cinema-style lens with the focus rings.
But compare that to the 85mm G master here from Sony
and you can see the major size difference.
And it's just, they're light weight,
but that doesn't mean they're cheap.
They're strongly built and they're pretty, pretty durable.
So definitely look into these lenses
if you're looking to get some cinema-style lenses
and you want to save some money.
They're all about $1,000 or less.
And I've really like using them so far.
So I highly recommend them.
Thank you to Veydra for sending them to me to test them out
and to give you guys a little look at them.
And I will see you guys in another video.
Thanks for watching.