One of my favorite TH-cam channels. I like your content and the way you talk about things. I would be interested in a video talking more in-depth on how you go about shooting B-roll footage.
I almost bought these after testing them out but ultimately went with the Meike ones using a PL mount on my s5iix. I do feel the NiSi are better though - far cleaner and sharper. Great review as always.
Honestly, the new lens hypetrain is getting a bit overdone. It's not you, there is a burden of choice right now. I still like the Rokinin Cine DS series when doing a side-by-side price for performance. The issue with the Roks is the size of the lenses with gears lining up, but who cares if you are not constantly swapping and 5 more seconds is not a big deal on a set. I'm shooting interviews, fashion shows and BTS of photoshoots.
After using a ton of each, and the Rokinons since 2011, these really blow those out of the water. I’ve always disliked the plastic cheap Rokinon builds
These things are cool, prefer them to the DZOs and the like. I’m a 1st AC so I’m comparing them to the big leagues I often work with: Master Primes, Ultra Primes, S7’s, Optimos, etc. considering each of these lenses can be bought for less than the tax of any of the big league lenses, they look exceptional for the price
I've been looking at them but lack of anything between 50 and 85 is a problem. 85 is just too long. a 65 would really be nice and it's a focal length I use a lot. hopefully they will fill the set out a little more with a 65 to 70 and a 18-20, and maybe something at the long end in 180-200 range.
Hi there 👋🏼 Great video, I subscribed :) One question: Does the low CA also apply to the 35mm and the 25? I heard in other reviews that on those two it is quite substantial. I really find these appealing in every other regard but I just can’t stand CA. Then again, where at this price point is no CA 😅
I have never noticed it in real world results, but the CA that Caleb Pike talks about in his video is LOCA, which is CA in the out of focus areas with high contrast elements. This is not fringing on the subject/what’s in focus, so it’s tends to be a non-issue. It has had not any impact in any of my real world shooting.
@@markwiemels Thank you for clarifying! I guess I will rent them and do a little bit of testing myself. In the CVP review they also say that there is some clear CA but it vanishes when stopping down to t2.8. But I think I’ve heard that LoCA is better correctable in post (or at all correctable) than lateral CA so I am happy then :) Because for me, even though purple fringing is by far the more irritating kind of CA, I also don’t like to have LoCA in my shots. Thanks again for answering and have a good day :)
They are not really comparable, with the Arles you are really paying for the extra light/t-stops (paying in money and extra weight), not a better lens or image, in my opinion. Both are great.
I have a video on them. They are bigger, more expensive, and faster. I think you are paying for the speed mostly, as it takes a lot of glass, I'm not sure the IQ is specifically better, but have not shot them side by size. There is something exciting coming out in late September, which may also interest you, but I can not share any details until the release.
Mark, could I use the NISI Athena with my A7IV. I know it’s not a cinematic camera. Are they not recommended for hybrids? I really like the 35 & 50mm. Thank you!
Yes, you can use them on your A7iv. If you will only use them on a Sony body, you could buy the e-mount version only. The only problem with this is that you are locked in to just e-mount. If you are unsure if you will use other camera bodies in the future and to help future proof your lens purchase then you would buy the PL mount and buy NISI’s various PL mount adapters. PL mount was pretty much the standard for pro Cine lenses, followed up by EF before Mirrorless came along. NISI sell a PL-E, PL-RF, PL-L, PL-Z, and one for Fuji as well. They also sell these lenses in PL mount with the ability to add a filter in the rear of the lens, and PL mount ARRI style without the ability to add a filter in the rear, like shown in the video.
@@sidvicious3129 But I've heard that the Athenas can not be converted to EF... Interesting that the DZO come in both PL & EF, which can be converted easily to RF. I still have a BMPCC 6K Pro that I like to use sometimes as B or C cam. I like the looks of Athenas better, but not being able to mount to EF makes me wonder...
PL to EF isn’t really possible due to flange distance. You’d have to completely swap the mount off the camera body. Now Wooden Camera makes a mount adapter for the pocket 6k that you can try if you own a blackmagic.
One of my favorite TH-cam channels. I like your content and the way you talk about things. I would be interested in a video talking more in-depth on how you go about shooting B-roll footage.
Thanks. Are you referring to the sample footage I use to demonstrate the lenses?
@@markwiemels Yeah.
I'm really not a fan of that yellowish-green, but it's amazing that you can use them across three sensor sizes.
I almost bought these after testing them out but ultimately went with the Meike ones using a PL mount on my s5iix. I do feel the NiSi are better though - far cleaner and sharper. Great review as always.
Thanks.
@@markwiemelsI love the images meike ones produced.
This was a Great, well-produced, beautifully shot and very informative video. Well done, and THANK YOU!
So kind of you, thanks.
Honestly, the new lens hypetrain is getting a bit overdone. It's not you, there is a burden of choice right now. I still like the Rokinin Cine DS series when doing a side-by-side price for performance. The issue with the Roks is the size of the lenses with gears lining up, but who cares if you are not constantly swapping and 5 more seconds is not a big deal on a set. I'm shooting interviews, fashion shows and BTS of photoshoots.
After using a ton of each, and the Rokinons since 2011, these really blow those out of the water. I’ve always disliked the plastic cheap Rokinon builds
These things are cool, prefer them to the DZOs and the like. I’m a 1st AC so I’m comparing them to the big leagues I often work with: Master Primes, Ultra Primes, S7’s, Optimos, etc. considering each of these lenses can be bought for less than the tax of any of the big league lenses, they look exceptional for the price
Thanks for sharing your insight!
Thank you for the review of the NiSi. I have owned Meike mini's. This lens option may be the solution I am looking for.
I love them.
@@markwiemels I also own a set of mini prime lenses.
Thanks for video, in Europe there not available.
I've been looking at them but lack of anything between 50 and 85 is a problem. 85 is just too long. a 65 would really be nice and it's a focal length I use a lot. hopefully they will fill the set out a little more with a 65 to 70 and a 18-20, and maybe something at the long end in 180-200 range.
These videos are simply beautiful. Love them.
Do you have a review of the follow focus systems or a recommended video?
I’m using the Tlita nano II and really like. I haven’t made a video about it.
@@markwiemels (eagerly awaiting) Thank you, Mark.
The “South Gate” bridge dusk scene, could you elaborate on that? Which lense? Any filters? Camera settings? It’s stunning
All V-log, no filters, not even ND, Phantom LUT's.
Congrats. As far as I can see, 35mm is around 1200 bucks solo?
Hi there 👋🏼 Great video, I subscribed :) One question: Does the low CA also apply to the 35mm and the 25? I heard in other reviews that on those two it is quite substantial. I really find these appealing in every other regard but I just can’t stand CA. Then again, where at this price point is no CA 😅
I have never noticed it in real world results, but the CA that Caleb Pike talks about in his video is LOCA, which is CA in the out of focus areas with high contrast elements. This is not fringing on the subject/what’s in focus, so it’s tends to be a non-issue. It has had not any impact in any of my real world shooting.
@@markwiemels Thank you for clarifying! I guess I will rent them and do a little bit of testing myself. In the CVP review they also say that there is some clear CA but it vanishes when stopping down to t2.8. But I think I’ve heard that LoCA is better correctable in post (or at all correctable) than lateral CA so I am happy then :) Because for me, even though purple fringing is by far the more irritating kind of CA, I also don’t like to have LoCA in my shots. Thanks again for answering and have a good day :)
Do you think Nisi Athenas lenses can be compared to DZOFilm Arles Primes? Or are the Arles lenses better? Thanks for the information you share.
They are not really comparable, with the Arles you are really paying for the extra light/t-stops (paying in money and extra weight), not a better lens or image, in my opinion. Both are great.
have you compared them to the vespids? which do you like more?
I have not used them, sorry.
😮Would these fit a fuji st2 or a panasonic g6?
what are your thoughts on the DZOfilm Arles primes?
I have a video on them. They are bigger, more expensive, and faster. I think you are paying for the speed mostly, as it takes a lot of glass, I'm not sure the IQ is specifically better, but have not shot them side by size. There is something exciting coming out in late September, which may also interest you, but I can not share any details until the release.
Can they be used with the Canon M50 ii with the EF-M mount?
Maybe if you get the PL mount and the PL to EF-M adapter.
Wait wait. I am seeing some very familiar locations in this video. Maaaaate.. are you in VIC?
Yes Sir.
@@markwiemelsWell that just makes day! I've been watching your channel grow from almost the beginning. 🎉❤
Mark, could I use the NISI Athena with my A7IV. I know it’s not a cinematic camera. Are they not recommended for hybrids? I really like the 35 & 50mm. Thank you!
You can do this. Either with the E mount version or PL with a PL-E adapter. I chose the latter.
Yes, you can use them on your A7iv. If you will only use them on a Sony body, you could buy the e-mount version only. The only problem with this is that you are locked in to just e-mount.
If you are unsure if you will use other camera bodies in the future and to help future proof your lens purchase then you would buy the PL mount and buy NISI’s various PL mount adapters. PL mount was pretty much the standard for pro Cine lenses, followed up by EF before Mirrorless came along.
NISI sell a PL-E, PL-RF, PL-L, PL-Z, and one for Fuji as well. They also sell these lenses in PL mount with the ability to add a filter in the rear of the lens, and PL mount ARRI style without the ability to add a filter in the rear, like shown in the video.
@@sidvicious3129 Mahalo!
Yes, I use them on mine!
@@sidvicious3129 But I've heard that the Athenas can not be converted to EF... Interesting that the DZO come in both PL & EF, which can be converted easily to RF. I still have a BMPCC 6K Pro that I like to use sometimes as B or C cam. I like the looks of Athenas better, but not being able to mount to EF makes me wonder...
Woah! He said the name of the lense in the title. Rare! 😂
Unbelievable
The fact that they didn’t make an ef mount or PL to ef adapter is beyond ridiculous and makes no logical sense..
PL to EF isn’t really possible due to flange distance. You’d have to completely swap the mount off the camera body. Now Wooden Camera makes a mount adapter for the pocket 6k that you can try if you own a blackmagic.
@@tylerfukuda thanks for sharing
@@tylerfukuda This is what I've heard, but I'm curious then how the PTZ Vespids work. They come in PL/EF interchangeable.