Uli Plank wrote:Why do you say 'only' S-35? Who would need 11mm on a FF stills camera?
I'd say it's a great range if you need to go very wide, personally I'm fine with the Sigma 18-35mm on S-35.
A lot of the latest lenses from Tokina are designed for 135 film diagonals of at least 43.3mm. An example would be the Tokina Cinema-ATX 16-28mm T3. I was just emphasize that the 11-20mm T2.9 is designed for APS-C stills cameras and supports up to Super 35 format cinema cameras as a caution only since it’s always possible someone wants their lenses to work up to FF. This is the first cinema lens I have purchased that does not cover FF.
I agree with you that the Sigma 18-35mm range is well-suited to Super 35. I bought this lens primarily to use on the BMPCC4K camera. The lens supports ever major modern mount including mFT, but I bought the PL version for my URSA Mini 4.6K Camera because my widest lens is currently the SLR Magic 25mm APO. So having the 11-20mm covered is ideal for my purposes.
But on the BMPCC4K is also an ideal home for the 11-20mm as it will cover the needs of a wide angle of view for that camera (matching a 21-38mm field of view in 135 film) when shooting DCI 4K. For those times when I might want to longer and record in HD, the 11-20mm zoom covers the short normal to portrait range (45-81mm on 135 film). To go longer and record on DCI 4K, I have the 25, 50, 85mm SLRM APO PL primes (48mm, 95mm, 162mm field of view in 135 film) for normal, portrait, and telephoto.
The 11-20mm range will work for me primarily for INT DAY/NIGHT work where you want a greater sense of intimacy suggesting you are a part of the scene, a player at the poker table if you will, rather than the detached viewer of a scene. It’s a different vibe to what I am used to, but it has its place. Focusing down to 11” also has its place!
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