The Voigtlander is a very well regarded lens but maybe here its had its day. That’s an extraordinarily small difference in resolving power given the fact one is wide open! The Sigma by the way has a much more appealing warmer tone than the Nokton. Just how sharp is it wide open? Let’s stop the Voigtlander Nokton down to F5.6 and compare it to the Sigma wide open – Of course this kind of performance is out of this world for a fast aperture zoom! Especially in out of focus areas, the lens maintain a certain clarity and richly defined texture. A nice portrait focal length. It is much sharper wide open than the Voigtlander, even when the highly rated prime is stopped down to F1.2 or F1.4. The Voigtlander has a lower contrast and hazier feel, with out of focus areas suffering from a lot of coma. Bokeh, contrast and colour are crisper and less fuzzy on the Sigma with Speed Booster. This slight light loss isn’t unusual considering how many elements are in the Sigma and how complex the design is.įield of view at 35mm is almost identical to 25mm on the Voigtlander. On paper the boosted F1.2 on the Sigma and the F0.95 on the Voigtlander should be similar in terms of exposure. Speaking T-stops it looks like the Voigtlander at F0.95 is T1.2 whilst the Sigma with Speed Booster is T1.8 – so there’s maybe a slower transmission of the glass going on in addition to higher contrast. Blacks are much more inky on the Sigma wide open and colours are punchier. Some of this is down to the hazy low contrast look of the Voigtlander. Put simply the Sigma 18-35mm F1.8 with Speed Booster has the Voigtlander for breakfast, but there’s a bigger than expected difference in exposure. It really is the closest you can get to the end results of cinema PL lenses, as an affordable ownership prospect not rental. It is as sharp as a prime and built like a tank (though not weather sealed). An extraordinary technical achievement especially for $850. I suspect Sigma have actually created a F1.2-F1.8 zoom here. That’s because the iris blades do not fully open between 18-24mm, to maintain the constant F1.8 aperture. Brightness is absolutely constant throughout the zoom range, although bokeh is smoother at the 35mm end. That sensor becomes a 2.1x crop making the Sigma 18-35mm F1.8 a very tasty 38-75mm F1.2 constant zoom. They faded with the Micro Four Thirds version and they’re essentially here absent because of the 3x crop sensor. The soft corners of the E-mount Speed Booster are no longer with us. Original ProRes file at Vimeo (plus members, download HQ 1920×1080 version) ![]() In all the important areas it performs in spades – to prove it here are some graded frames from my ProRes divided by what area they’re a good example of. There’s not a single moment when I’ve thought something would look better on a GH2. In short I absolutely love this combination and it will be getting a lot of use. It is an incredibly flexible image in post with plugins like Film Convert, with none of the transcoding or editing requirements of raw video. ![]() The image in ProRes beats any DSLR or compact system camera out of the box for video. I would really love to see how this lens does against a $47,000 + tax cinema lens like the Optimo 15-40mm T2.6 because I honestly think it would come close.īlackmagic must share a similar philosophy, because the Blackmagic Pocket Cinema Camera gives an image that in many ways exceeds the $15,000 Canon C300 especially when paired with the Metabones Speed Booster.
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