But by no means all. If using old manual lenses sounds like too much hassle, though, there are many great (but not nearly as cheap) modern manual lenses available for use with the Sony a7III. Sony’s 28-135mm f/4 G OSS might be just what you need! Overall this is just a very good, fast-aperture prime lens for day-to-day shooting. True, if you are the kind of videographer who uses artificial lighting for every shot, you will be in full control of the quantity of light falling on your subject. Featuring solid G-Master build, in robust metal and plastic, and coming with full weather sealing, the 85mm GM is a serious bit of kit for serious Sony a7III filmmakers. 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But although the a7III does indeed offer a fantastic solution for shooting full frame movies, in order to get the most out of the a7III as a videographer you really need to have appropriate glass on the front of the camera. The faster the maximum aperture a lens offers, the more light it will be able to shine onto your camera’s sensor. If you plan on zooming while you film, you’ll need to be certain that changing the focal length setting of your zoom doesn’t also alter the focus position. View and Download Sony A7 III instruction manual online. Another major selling point with this lens is its optical image stabilization, which works brilliantly. The 85mm GM comes with a dedicated manual aperture ring, permitting iris adjustments in one-third of a stop increments. But precisely because a zoom is effectively several lenses in one – and in practice this means packing a lot of extra optics into the lens – the disadvantage of zooms is that there is frequently a corresponding compromise in image quality. Sony comes fully equipped with two powerful tools for manual focusing. Not only that, but zooms generally tend to have slower maximum apertures than primes; often ones that do not remain constant throughout the zoom range either. The above advice is just as valid whether you’re looking for a lens to shoot stills or movie clips. Choose wisely. So before choosing which path to choose, you may want to weigh up the pros and cons of each solution. Manual focus with this lens is of course “by wire,” and so there are no focus stops. The thing is, though, a fast maximum aperture is an advantage you can usually expect to pay more money for. But it’s all relative; this thing performs better in the corners wide open than most lenses can manage in the center even when stopped down! Get it as soon as Tue, Oct 13. Leaving you free to get on with the job of creating movie magic. Although it lacks weather sealing, the Sonnar is both considerably smaller and cheaper than the 50mm Planar, and yet is capable of delivering fantastically sharp footage. And so there’s no simple formula we can follow for understanding how the bokeh of a given lens is likely to be. But don’t let that put you off, as it’s supremely good at what it does. But when you consider that it’s also one of the sharpest lenses available today – sharper even than the Zeiss Batis 135mm f/2.8, and faster to boot – then the price of the Sony 135mm f/1.8 is actually a bit of a steal. With its full frame sensor and fast and accurate autofocus, the Sony a7III is well suited to serious movie work. (more at High ISOs) Top Sample Images Intro Lenses & Adapters Specifications Accessories USA Version Performance Compared Usage Recommendations More I'd get my A7R III at Adorama, at Amazon, at B&H or at Crutchfield, or get it used if you know How to Win at eBay. Do you think about how to improve your kit to take better pictures?In this article I want to tell you why buying cheap manual lenses is often the smarter choice than spending a huge amount of money on the very expensive native lenses.. Zeiss Distagon 2.8/28 â $250 Canon FD ⦠And bokeh is excellent – especially considering that this is a zoom lens. No more than most comparable 35mm lenses though. Meaning that you can easily achieve beautiful shallow depth-of-field shots, without losing foreground resolution. There are no clever tricks or gimmicks, but nor is there anything that is likely to cause much disappointment. In fact the 28-135mm f/4 G OSS is the kit lens that comes with the Sony FS7; a dedicated 4K cinecamera that is popular with pro-videographers (thankfully, though, the lens is also available to purchase separately). First, though, it’s important to understand that while this lens will work perfectly with the a7III, that’s not the purpose it was originally designed for. This might be a major problem for you if you are in the habit of placing your main subject to the sides of the shot. The question is though, just how often do you zoom while filming? These are few and far between, however, and any native lens for the Sony a7III that doesn’t produce a nicely sharp image is likely faulty and should be returned to the dealer. Needless to say, then, the advantage of prime lenses is that they tend to have superior optics and faster maximum apertures than zooms – at least when compared dollar for dollar. Even more so when you consider that zooms of this type typically suffer from a degree of AF motor noise. (I sold my Leica M240 M-P to fund the Sony A7RIII) Sure manual focus only, but small, light, sharp, top quality glass. But this is nothing out of the ordinary and certainly not worth worrying about. I highly encourage experimenting with different lighting conditions to find your ideal ISO. But to be honest both are well well controlled and don’t present a major flaw. But instead come with a simulated version of manual focus. I’m a travel photographer from Paris, France. Not to mention expensive. Manually Focusing With Third Party Lenses On A Sony A7RII Manually focusing with third party lenses on a Sony A7RII is not easy. Or, if that’s not to your liking, check out our next lens, the 35mm f/1.8. Get it as soon as Tue, Jan 12. Absurd amounts of detail, but with beautiful blurry backgrounds? 4.4 out of 5 stars 408. 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