The REAL difference between CINE & STILLS lenses
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- čas přidán 2. 08. 2024
- What are the true differences between Cine lenses and Stills lenses?
In this video I compare both versions of the Irix 150mm to find out
Huge thank you to Irix, both of these lenses can be found at irixlens.com/
INSTAGRAM: dpmphotographs
PATREON: / davemckeegan
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Just to clarify this is looking at cine lenses which are derived from stills lenses. The very expensive cine lenses that are designed as cine lenses have no focus breathing and are par-focal, which stills lenses generally don't have to reduce costs - but as stablemate cine lenses carry the same optics they have the same result
Easy to see the difference in design in the image at 8:55. All the other expensive cinema lenses have optical elements protruding back from the mount, since you have no mirror in a cinema camera you can do this and it opens a whole world of possibilities in optics design.
i was surprised that u didnt mention focus breathing in the video, thanks for pinning it here.
@@revocolor Focus breathing is relative to Zooms not fixed focal lenses.
@@orsoncart9441 u need to update your knowledge. It is relative to both lens types ;)
@@revocolor Never considered to be releventant until all the internet expert arrived. Only ever became relevant as Zooms moved from Par focal to varifocal. But to know that one would have years of experience in the film industry. The internet has a lot to answer for in terms of youtube experts. I despair.
You forgot two important differences: 1: Cine lenses have a much MUCH longer throw on the focusing ring which makes it way easier to pull focus especially with moving objects. And there might be a chance when doing film that things move. 2: Cine lenses usually have the same color matched coating throughout a series which is not always the case with still lenses but makes a hell of a difference on set and in post production. All in all and in summary you could say that Cina lenses are much more precise then stills lenses hence the price difference.
Very good points, although incidentally the focus throw on these 2 lenses is identical at around 270*
@@fto5935 You are a real charmer. I would guess you work by yourself.
7 minutes passed and I just noticed there's a dog on the couch.
He's a ninja-dog 😉
Same, and only after reading this comment.
Took me 11.
He has mastered the ability of staying so perfectly still, that he has become invisible to the eye
This is the best explanation for the two types of lenses I've seen on CZcams. Good job
Thank you Nick :)
Indeed
I concur!!!!!
+1 Brilliant. Thank you.
There’s nothing like seeing someone entirely in command of his subject give a quick rundown of how and why it all works, and keeping things clear and logical even for the uninitiated like myself. A masterclass in only a few minutes. Brilliant. Thanks. Subscribed
Thanks for making this well crafted video. I have been curious about this for a long time.
I loved the disclaimer at the beginning. Always concerned when browsing recommend videos and other reviews and that quickly made the video trusted and fun.
Never has the difference been so clear! The best explanation so far. Thank you!
I appreciate the uniformity and consistency in the cine lens world. The still world could use that consistency of design.
Lol you never used a vintage Cook cine lens...
Modern still lens series i.e. Zeiss Milvus are matched.
There's just a bigger incentive for it in film. If everything already costs so much, you're hauling so much gear around, and time is extremely precious, you really don't want to have to rent out and lug around a whole different mattebox kit for each individual lens. Also, you need a lot more consistency if you're constantly cutting between shots taken with different lenses.
There isn't really a reason to match everything on stills lenses. Generally during a photo shoot you're not switching between 5 different lenses and you also aren't using accessories that are attached to the lens. I think most photographers prefer having their lenses cost as little as possible for the quality and features they provide while also being as small and light as possible, all of those things go out the window when you want all the lenses in a line to match.
Well done Mate, such a thorough review. You’ve answered many questions I had about lenses in the past . Thx for educating. Cheers
Well done, Dave! Clear, concise, thorough, including “so what” factor. Does similarity of optical performance include color rendition and uniformity of optical characteristics across the cine lens line?
I believe they'll be similar but not identical, since the stablemates are using the same optics as the stills they've have the same differences across the lineup as the stills do.
But I doubt they'll ever get an 11mm lens to have identical characteristics to a 150mm macro for example
I knew the difference between f stops and t stops, but you taught me about the rest . Excellent video
I had no idea, so I learned that part too.
I understood everything instantaneously, very informative and well done video!
Thank you! :)
Man this guy's video quality is so good it feels like he's sitting right in front of me.
I've been doing a load of research on videography and photography recently, which is how I found this channel, and this is by far and away the best explanation I've seen... even as a lay person it's all understandable, interesting and relevant. Plus there's a sleeping springer spaniel. Thanks for a great video, I'll be watching many more of them from you now!
Thank you, glad you found it useful 😊
Many cine lenses do work hard to be different from still, optically. They try to avoid aberrations, make things more even across the glass, fix light angles, deal with reflection. The catch is that these are the ones where you end up paying a lot more than double for the same thing. And then, of course, all of those things you mentioned are also true. Focus breathing is also important, if that's compensated.
Why don't they put the same optic quality efforts into still lenses? Is it because movie production companies are more ready to pay for expensive gear?
@@okebaram 1. I personally won't be buying a $40,000 lens for my camera. 2. Movie companies very commonly work by renting equipment. That's a great way to disguise real cost.
Really informative video. I always wondered what the difference was between the two types.
Thanks for this well done insight into lens types! It was really helpful! Keep it up!
Thanks so much for explaining this! I haven't seen a comprehensive breakdown of the cine/still (as opposed to cine still film!) Lenses before. It actually makes a heck of a lot of sense that cine lenses standardize like that, it also makes me feel a lot better knowing that I can use my still lenses for videos and still get good results within reason! Perfect for people like me that dabble in both but don't want to lay out too much cash for something I may not really actually need at my level
Absolutely Dan, I do a fair amount of videos but never use cine lenses as half the time I'm in front of the camera and needing autofocus, so to use cine lenses would also require a cameraman, and for the times I able operating the camera and using manual focus I fine the stills lenses still do I perfectly fine job for what I need.
Good points! Just wanted to add that some 5k+ cine lenses are parfocal as well, IE they can zoom without affecting af sharpness or af at all. That is a staple of Broadcasting lenses for example. As well as an insane zoom range most often.
Love the no nonsense approach. Informative and fun to watch!
Thank you Harold 😄
Thank you for the video! It's by far the most objective and comprehensive one I've ever watched.
Thanks Andrew, glad you enjoyed it
I learned a ton, thanks for all of the info!
Fantastic video! Extremely concise and sharp to the point, without missing anything. Sincere respect Sir!
Thank you Ivan 😊
Like for Lada 🤣🤣
great video. Well put together! Keep it up!! I may end up doing a similar video between Canon 85mm cine and EF photo lenses because it's such a good concept. I'd love to see the comparison myself.
This was crazy helpful!!!! Definitely subscribing👌🏾
That was such an amazing video. I learned soooo much more about the difference in Cine vs photo lenses. Subbed! Thank You!
Great info I knew some differences but have a more complete picture now. Would be nice to do a follow-up where you show off the focus pulling advantages of the cine lens.
Great suggestion, although I only had the lenses on loan from Irix and have since been returned but it's something I'll keep in mind for the future if I can get hold of some other stablemate lenses
Thank you so much! That is a great video and fantastic explanations!
Fantastic video, thanks so much. I thought I knew a lot about photography, I know realise my knowledge is pretty limited (to stills). I hadn't realised how different the requirements would be for video. Great explanations.
Very informative video, Dave. Thank you.
Highly educational video. Every high quality overall, thank you for the upload. Your channel is surely going to grow with content this good
Thank you Matthew 😊
Super great video explaining the differences. Thank you for sharing this. Your dog is really cute too :)
Great review, thanks for sharing👍
The most viewed video in last 6 months.
Don't you think there is gap of lens knowledge that you filled with this ,I think you should make more videos like this filling the gap . Your channel will grow super fast
Thanks for the view
Great video and explanation.I think this will help some people.(I think many might be confused between video and film)
your dog is a legend! super chilled ahahah great content as well!
Great info! Thank you!
Good video. Neat, clean explanation or narration with great contents. 👌
Great walkthrough of the differences!
Brilliant video. Very well shot and, far more importantly, very well explained. Video was concise, but crystal clear. You demonstrate a very thorough understanding of lens. I loved the video. Top effort lad.
Thank you very much Nick 😊
Thanks! This helps decide right away.
This was very informative. I learned a lot. Thank you!
One tidbit. The "optical setup/design" is referred to as the "optical prescription" in world of lens design.
Thank you! That was a very useful and clear explanation!
This is exactly the video I was looking for on this topic....thank you so much.
You're welcome Joe, hopefully it answered all your queries
Super informative! Much appreciated.
I found this video to be clear, concise and very informative - thanks👍
Thank you, glad you enjoyed it 😊
Fascinating, I love the detail the creators, and you, went in to their craft.
Fantastic! Thanks for the detailed report.
You're welcome Leonaldo 😊
you answered all my questions with one video! thanks!!
Extremely thorough explanation. Thank you so much for this.
Thank you! Very well explained.
Thank you! That very clearly explained the difference.
Phenomenal video! Great content!
That wheel is called a follow focus and the markings are on the side for the focus puller.
Good work. Recent sub and like your limited b roll, slo mo coffee pours and typical related crap. Great content.
Thanks 😊
I always wondered those things. Thanks so much.
You're welcome
Hopefully this cleared things up for you 😊
Great video, thanks man!
Very nice comparison. However, other than the better build quality (which I find dubious), the reasons cited for the increased cost of the cine lens and cine lenses in general - and I’m referring to fixed-focal length lenses only, not zoom lenses - really don’t make sense. After all, a slow focusing system simply requires different internal gearing; the focusing distances indicated on a stills lens can be measured and marked on the focusing ring; you can calibrate any stills lens to specific t-stops (and mark them on the aperture ring); an aperture adjustment mechanism without detents should be less expensive than one with detents, since detents are an added complication; etc.
This leaves few plausible reasons why the cine lens is more expensive, such as, far fewer are sold in comparison to stills lenses, the typical customer is much better endowed than the typical stills photographer and can easily recoup the cost by renting out the lens, and there is perhaps less “focus breathing,” and less of a tendency to develop internal reflections from off-axis light sources, where the latter can always be blocked when shooting a still.
Thank you! Learned something I didn't know before!
You're welcome Bakki, glad you found it useful
Great info!
Wonderful! Thank you for this. Just now getting into Cine lenses and this was extremely helpful!
That's really helpful. Thanks.
Thanks. Very informative.
At least an easy and friendly video about this! Thank you!!!
Hi Dave
Thanks for clearly explaining the key differences, as a stills only (currently) shooter I had a vague idea about some aspects but your short primer fills out my knowledge gaps nicely.
I probably need to start experimenting, but I'm a tad intimidated by all the extra kit (cage - sound mikes - ext. monitor - matte box - gimbal etc) many seem to quickly evolve into using. Then there is the editing and technique. All in all seems a big step. I'm pretty competent with stills but could do with a few more pointers (as well as experimenting time) if I'm ever to feel comfortable making "good" video. Is that the sort of thing you might consider covering? A few short vids on how a stills shooter can best get acquainted with occasional video?
Depending on what you're shooting a lot of the accessories aren't absolutely necessary, at least not to begin with.
Cages for example are only really useful if you are mounting a ton of accessories on the camera.
External mics are certainly a good thing to have but if mounted on the camera make no difference to your workflow than if you didn't have one.
Monitors are helpful to see clearer than your camera screen allows or are useful if you are away from the camera but I personally never use them these days as I find the camera screen to be sufficient.
For starters I would just use the camera with minimal accessories and just get comfortable with shooting video and then build up as and when needed.
But I may do a video on it at some point in the future.
Excellent video. You provide clear and concise explanations about the differences in the types of lenses. Thank you! Please give your dog a hug for me....
The is the BEST explanation of stills lenses vs cinema lenses on CZcams, to date... Thank you!!!!
Great information!!
Absolutely the best video on this subject. Thank you. I get it now. Bonus points for pup in these videos.
Great video, thanks
The reason that the have markings on both sides is, because you’ll have a focus puller(1st AC).
And the cine lenses, at least the professional ones, have a much better focus ring, smoother and longer.
Most cine lenses have additional unit inside the lens which compensate 'focus breathing', which is another major difference. Great video!
Do you have any info on this? I was wondering about exactly that after using Irix 30mm. The cine version has pretty much zero breathing, but the stills version does. Clearly something is different in the optical design, but it's not the number of elements, or what they are, but it is something.
Very clear. Thank you.
Great breakdown, one of the best that I have seen. Comprehensive and respect for making a closer apples for apples comparison!
😀🕺🏻🎥🏖🇦🇺
Thank you Brad 😊
Very useful! Thanks
Best video on this topic i hv seen
Thank you 😊
Very interesting!! This also makes want to use cine lenses!
great video thank you!
thanks boss finally you switched to 4k ,what a quality bro
Good Job! Thank You! What do you recommend to get as my 2 or 3 first cine lenses for APS-C Fujitsu X-T3? Thanks
I just learned so much.
Finally someone explains this perfectly clear!! I GOT it!!! Thanks Dave!
You're welcome Dave, glad you found it useful 😊
This is good effort to explain the difference between cine and still lenses. It would have been better if the breathing focus effect can be explained early in the video. I hope this suggestion will help. Thanks.
Great work!!!
I had no idea that I needed to know any of this, but I was oddly hooked from the start. And now I feel smarter...
I bought Samyang 35mm t1.3 for my Fuji x-t20 2 days ago.
There is exact same model but still version with 35mm f1.2.
I looked at their technical sheets. Every single thing is same, except gear focus and aperture rings, non-click aperture and longer focus travel.
I'm starting to astrophotography and I need sensitive focus so I decided to buy cine version.
But everone said "no that should not work for photo that is cine lens" I bought it anyway.
Now I'm waiting for my lens and with the help of this video I'm very happy. Thanks a lot.
I also watched a video about f1.4 lenses and f2.8 lenses.
They shoot some pictures with f4 f8 f11 and they say "we don't understand why f1.2 one is expensive". That channel has 250.000 subs.
There are many dumb people that just take some great photos at some time in their life and get famous and they think they know everthing. The same dumb people like you mentioned in the video compares apples and bananas.
6min in and this is so much clearer to me know. Thanks so much.
Wow, I really learned a lot! Great breakdown.
IMO I'm not sure that the build quality and physical changes for focus pulling are quite worth double. Do you feel there is any premium being paid because they're most likely for professional use and "budgets" rather than "wallets" are paying for them?
Part of it is the economics of supply and demand, with cine lenses being a much more niche product then the R&D costs and the costs of setting up new machines can't be spread across as many units sold
Time = Money my friend. You have trained professionals expecting a certain work environment. Cine lenses cater to them. A single operator has serious diminishing returns. You can learn any kit for your own purposes. Group dynamics on a cinema shoot are a different beast. Build quality definitely plays a part in rental scenarios. Again, single operator/owner it's severe diminishing returns. Resell value may play a part, though.
Extremely informative
This video was fantastically well done well explained and we'll spoken.
Thank you Bryan 😊
Some aspects I already knew or guessed (just looking at a rig or seeing a focus-pull done by the assistant gives away many of the aspects covered). What I didn't know was the standardized front and filter diameters - makes perfect sense! I'll stay with still photography, though, not only because of the insane pricing of cine lenses … ;-)
The purpose made cine lenses do have a few other key differences such as no focus breathing etc and are generally much better optically which account for the much higher prices, they still really aren't much benefit to stills for the money though
thanks for that dude! i'm a photographer for decades but never gave a thought about cines. now i know, thanks to you!
You're welcome 😊
Great video! Clear and to the point! Now, give that poochie a cookie!
Thanks, he certainly gets his fair share of treats 😊
Great video thank you! Would the focus throw of the lenses also be a consideration? Most cine lenses I have seen have long focus throws which I presume is for more control and precision. Whereas many stills lenses have quite short focus throws comparatively. I'm not sure if this is a universal truth but perhaps another consideration
Some cine versions do receive modified focus mechanisms with longer throws, although in the case of this particular lens they both have the same 270* throw (which granted is pretty long for a still lens)
There have been stepless apertures on camera's since the 1960's, starting with the Yashica Electro GSN, which later saw use with the Minolta Hi-Matic and GT models in the mid-70's. All of these were adaptations on Rangefinders for the consumer markets. The earliest Cinematic lenses also followed that equation, with Bell & Howell, and even Kodak capitalizing on that technology. Even with the advent of gear driven, motorized, focus and zoom being on many of the he current video camera's being offered, why hasn't the still industry just taken the stops out of circulation with button touch, pre-programmed, focus and zoom to alleviate all this nonsense about having to dedicate a type for either one or the other. Transmitted light is really the end game in the first place, isn't it?
Great information. Your lenses and/or camera body sensor are dirty as heck, though. I was seeing multiple fibers, specks, etc., all throughout your video. I mean, a lot. Pretty convinced that in your couch scene, those are two specks off to the left of the frame. One above the molding and one below, shoulder level. Despite how good your presentation was, I could not spot seeing these fibers and specs everywhere to the point that it was very distracting.
It really bothered my OCD. I saw every little speck and thought "did he not see those?".
@@EnterSpacebar I'm really trying not to be overly critical, but it was just so much. Even the bokeh had fibers and specks.
@@KungPowEnterFist No, I saw the same. It's pretty distracting, although the video was otherwise really well done.
Fantastic explanation of the differences between cine and stills lenses. Clear, concise, engaging. Good job. Perhaps make a companion video to explain why true cine lenses are so much more expensive than these stills lenses in Cine bodies.(if you have not already done one)
Thank you Raymond, if I'm ever fortunate enough to be able to get hold of such lenses then i'll certainly want to do such a video
Thank you for your efforts.
You're welcome Mustafa, hope you found it useful