All right, we got a new lens today. This is a new 16-35 F4 PZ, Or ”Pee Zee” if you’re in the US,
which stands for power zoom. So it’s a power zoom 16-35 F4. And I also have the Zeiss
16-35 F4 to compare it against. As far as disclosure goes,
Sony lent me this lens. This is pre-production. I don’t get to keep it. This video isn’t sponsored by
Sony, no money changed hands, But this video does have a sponsor though, And that’s Storyblocks. All right, let’s jump right
into the build quality, And I guess the zoom function, And we can talk about
these little white tapes That I have on the lens,
so I can take them off. Fun fact about that, I
already did the tape test, And I had it with two pieces of tape on, And then there was only
one piece of tape on it When I went to set up for the video. So I don’t know where that went, But it’s probably stuck
to me or some piece Of gear somewhere in here. So we’ll find it eventually in the future, But the reason we’ll
have these two things, It just marks the manual focus. So from here to here is
the total focus throw. So just less than 180 degrees, I would say probably 160 or
so degrees, which isn’t bad, And the focus is completely
linear when you manual focus, Which is nice. And it’s not, I wouldn’t call
it extremely well dampened, But it’s smooth. So smooth, but light is the feeling of it. But the zoom ring, so this is
what’s interesting about it.
So it’s focus-by-wire, it’s
an electronic focus ring, But it’s also an electronic zoom ring now. And the motors for the focusing, This is the most interesting
thing about this lens, The motors, you know how Sony
has these XD linear motors, Which are, they’re almost
like hovering on rails, And they can move back and
forth really, really quickly, And that’s how they’re able
to get the fast autofocus? Well, now this might be
the first zoom lens ever That they have that does that. The zoom function is also
on those XD linear motors, Which means they’re
electronically coupled. So there is no mechanical manual zoom. If I connect this to the camera
and I turn the zoom ring, Nothing happens until the camera is on. And it’s all internal zoom obviously, But it’s the exact same way as like, Think of it like zoom
by wire, if you will. This allows them to have
a bunch of cool functions, Like they can control the zoom
speed and acceleration, And a little bit of like the
curve almost in software, On the different cameras. But the con is that you can’t, I guess, Physically zoom it with just the lens, If that’s something you need. Also, there’s the thing– I haven’t actually figured
a way to stop this yet, But when you turn the camera off, The zoom resets back to 16 mil, And then you have to zoom back in Because it’s like it resets
the electronic position of it. There is an AF/MF switch,
a focus hold button, And then another way to
control the zoom here Is there’s a zoom lever
on the side of the lens,
Or you can turn this. The reason to use the lever is that It’s gonna be controlled
by those speed settings, And you can just press it, And it will zoom at a constant rate, Where the ring, even
though it’s electronic And it’s kind of dampened,
but it’s still how It’s all gonna be based
on how well you turn it. So if you want, just let
the machine do it smoothly, You can just press the lever. And then it also has an
iris ring here that can, Right now it’s clicked,
but it has the click On/off switch on it, so
we can turn that off. And then now it will go
smoothly through the iris, And there’s an iris lock switch as well. So if we put the aperture
ring all the way over to the A setting, like that, so
the camera controls it, Then we can flick this switch down, And then we won’t be able To adjust the iris anymore by accident. So really for the size of this lens, It’s fully loaded with
like every sort of switch And lever and stuff you’d
expect to have on it. And I’m really surprised
they’re able to stick That power zoom XD floating
rail gun zoom system Into such a small lens,
because comparatively, If we compare it to the Zeiss 16-35, You can see that the
Zeiss is not only taller, But it feels significantly
heavier in the hand. Actually have the specs on it here. The new Sony is 353 grams,
and the Zeiss is 518 grams. So it’s a pretty significant reduction. And in case you weren’t
able to see it there, It’s f/4 to f/22 is the full aperture range.
Now, jumping back to manual focus, The lens is also parfocal. I mean, as parfocal as I could see, I don’t know if it’s
perfectly, but from my tests, Going from 16 to 35, or
focusing at 35 and pulling out to 16. It maintained focus pretty much perfectly, Because if I would go
in and try and dial it In a little bit better with the ring, It didn’t get any better on either end. So I think it’s pretty
much truly parfocal, Which is a nice touch. Actually, let’s go ahead, And I’ll give you a little bit of a demo Of the zoom control. So I’m using the FX3 here, Which has the zoom toggle
right here on the front. But if you’re using a non-FX cine camera, You can program whatever button you want. You can either program a button to just Bring up zoom control
and then use the D-pad, Or you could program left
and right on the D-pad To be zoom in. And like I said, you can also control, You can fine tune how it actually zooms. So, or you could just
use it on the lens, too. But, so here’s a little demo here. Let me press record. So, if I zoom in, That’s full speed in and
out using the rocker, But if I go and just pull
the rocker just a little bit, You can see that we get
very smooth, slow zooming. And it looks great. You can see that as I’m zooming, You don’t see the focal
length anywhere on the lens.
So with a lens like
this, regardless of what I guess any modern Sony
camera that you put it on, It shows the focal length on the screen. Something I kind of
wish that Sony would do With all the lenses, Like some brands have it where
you can see the focal length On your display, regardless
of what you’re doing. But with Sony, it’s only
the power zoom lenses That don’t have the
focal length on the lens, Then they’ll show up on the screen. But if I put the Zeiss on, It doesn’t show up on the screen Because it’s on the lens itself. And the focus breathing is
really well controlled as well, Which I was happy to see. And this is using even the FX3, Which doesn’t have the focus
breathing compensation. With no compensation, the
focus breathing is very, Very minimal when you go
from infinity to minimum, So that’s great. And speaking of minimum
focus, on this one, There’s quite a disparity between
the 16 mil and the 35 mil, You get about the same
distance from the subject. It’s 0.28 meters or 0.92 feet
to 0.24 meters or 0.79 feet, So you can get a little bit closer, But the magnification is
significantly different Between 16 mil and 35. So if you wanna do the closeup stuff, You definitely wanna be on 35 mil. Some shots here of a Rubik’s
cube so you can see to scale How close you can get at 35 mil, And then how close you get at 16 mil. You can’t really get close at all, Even though the lens is close,
but because it’s so wide.
Now regarding autofocus,
compared to manual focus, It worked well. I tested it on the a1,
which I figure is maybe Our best auto focusing camera for Sony, And I got great results for photo. I did the classic sort of keeper test. I was doing things where
I was moving in and out Of a focus target, really
quick on high speed And seeing how many keepers there were. I don’t know how valid of test that is, But I was getting above 90%. So I’ve got no complaints
with that, even on high burst. And then for video autofocus, again, Really, really good result, But there is a quirk or a piece of advice. So, typical kind of like
running at the camera Back and forth thing, I was
getting great results. But if I did the pop-in-pop-out test where you like, Leave the frame and come back in. I know that’s not really a practical test, But in case that’s something you wanna do, Or maybe you’re holding up
objects to this lens quickly, It struggles a little bit when
you have the responsiveness Set to anything less than maximum. I had to put that of five,
the switching responsiveness. Once you put it to five, Then you can do the pop in, pop out. But if you have a set to four even, It took longer to acquire me again Than what I would expect to
normally see from a Sony. All right, so now I’m going
to boot up the computer And show you some test shots. Okay, these first couple shots here are, One, to compare against the Zeiss,
But also I wanna talk about
the lens corrections on or off. I don’t think that there’s
a distortion correction For this lens yet, whether
in camera or in Lightroom, ’cause if I switch back and
forth between it and the Zeiss, You can see that although
they’re very similar, The Zeiss is distortion corrected. As far as sharpness though,
between the two lenses, You can see on the left
is the new power zoom, That the power zoom is
sharper than the Zeiss, And it also has fewer issues
in between the close lines. You can see over here on the
Zeiss that we got some fringing And some resolution problems here where We’re a little bit
crisper and cleaner over here On the power zoom. Regarding color rendition though, Both are pretty pure in
the grays and the whites. And I would say both have similar… Sony, the left, The power zoom might be a
little bit more saturated, But they’re very similar. Like, I wouldn’t really worry
too much about color here. It does seem like the yellow
is a little bit better On the power zoom, And a little bit richer here
in the magenta and the blue. But, so yeah, it’s a better lens. It’s newer, it performs better
optically in this regard, But it’s minimal. One thing to consider though, Before we move on and step
away from the comparison Is that the power zoom does not have Any kind of stabilization, Where the Zeiss does
have the OSS built in. Now, I tried to do a comparison here To see if I could see the difference,
Because all the bodies
that I have have good IBIS In the body. So for like photo, whatever,
it’s not gonna matter. But I thought, okay, What about just holding a shot at 35 mil? Is it shakier on the power
zoom than it is on the Zeiss? And yes, I guess, but very, very minimal. I think at this focal length, It just didn’t make a
significant difference Like it does on the telephotos. So I don’t know that that
would be a determining factor For me in a buying decision. I don’t think I would
buy this for the OSS, ’cause I didn’t see a huge,
huge difference there. I would probably buy this instead For the improved optical
quality, which is noticeable, And jumping back into that
chromatic aberration thing. There is like no chromatic
aberration problems On the new lens, which is great. Let me show you a couple shots. So if we punch into like
230% here on the Zeiss, We can see that there is
some of that orange fringing, Some lateral chromatic
aberration here on this chart. But then if we move
over to the power zoom, There’s almost none, so that’s excellent. But you can fix that fringing
on the Zeiss in Lightroom, Or in post pretty easily. It’s more of the LoCA, The longitudinal chromatic aberration That is the one you gotta worry about. So I wanted to try and create
some LoCA on the power zoom To see if we could do that, And I have a shot of this fence here, Which normally shows up pretty bad,
But you can see even in
the sort of foreground out Of focus areas and then the
back a out of focus areas, There is no fringing
or color shifts at all. And it transitions very
smoothly, which is nice. So I don’t see any chromatic
aberration issues at all, And sharpness is great. It’s a great lens. For an f/4, it’s a great lens. The only thing that isn’t
particularly great about it When you close focus and you
want that same sharpness, Here’s one at f/4, 35 mil, And I focused on this leaf down here. And you can see it just
has sort of like a soft, Shimmery kind of quality about it, Which is a known aberration that happens On some lenses when close focusing. The G Masters don’t tend to do this, But the lesser lenses sometimes
do, and you can see it here. So it’s not really
something I would wanna do If I wanted to get these
sort of close up details, You’re better off with sort
of a more distanced shot. And we can also use this
to sort of talk about These types of shots that I do sometimes Where you’ve got water, There’s some melting
snow in the background, And we get down and
close and there’s rocks. It creates a lot of very strange bokeh, Like weird little orbs and elements. So we can look at some
of the more peculiar Character of the lens. These types of things
don’t come up all the time, But I like to show them. So you can get these sort of bizarre, Almost soap bubbly
things in the foreground
If you try to create them,
which maybe you’re into. And then as we transition
a little bit more Into the background, This is what you get when
you shoot sort of up close. So it has some interesting character. It’s not perfect and sterile, But if you just wanna
see how some fairy lights Look for your more
typical outta focus orbs, This is what you could expect for… These are the biggest
that they’re gonna get to, Because F4 and this focal length, And we do have that
sort of outer membrane. I wouldn’t call it completely
smooth, they look fine. They’re not the best in the
world, but they look fine. What is good though, Is that you can see the
cat eyeing over here Is kind of minimal. And even if we stick it in the corner, It doesn’t really get any worse up there. So they keep pretty round
shapes, which is nice. It’s just that the contents of the shapes Can have a whole bunch
of funky stuff in them, Which can be interesting
or not, it’s up to you. They’re just not perfect G
Master, perfectly smooth orbs. And then if you care about sunstars, Here’s a couple f/22 shots of
the sun at 16 mil and 35 mil. Again, not overly pronounced sunstars, But they’re fine. Whatever. Now the one thing that was
not great, but then also okay In a practical situation was flare. When I did a shot in here dark Where I took the flashlight
and ran it around, I did find that there was
quite pronounced flare
And contrast lost throughout the frame, And quite a few sort of artifacts From the way that the flare
was bouncing across the lens. But then when I took it outside And did some more practical stuff of like, Trying to let the sun
creep in on the side, It wasn’t as bad. Normally, I see similar
results in and out. This is a lens that
seems like practically, In a real situation, You’re probably not gonna
have issues with flare, But in a artificial situation, You can create strong flare. But put a hood on it If flares something you’re worried about. Every time I say that, people are like, ”But I like flare.” Okay, well then don’t put a hood on it, But you have the option at least, And I’m pretty sure
there’s a hood in the box. So you get a leather bag, and a hood. Yeah, it’s a shallow one,
but you do get a hood. Use the two accessories that came With my pre-production copy, anyway. Now, before we do sort of a
final thoughts and pricing, Why don’t we throw the
lens on that camera since It can go 35 and I shoot 35 here, And we can see how it looks? It will be less shallow than this, ’cause I think I’m shooting
at like f/2.2 over there, And this is gonna be f/4,
but let’s see how it looks. (beep) Okay, the 16 to 35 is on that camera, And I’m also just realizing
I didn’t have my tube lights
On this entire video. I should turn those on for
the sake of comparison. This is what my regular shot looks like. It’s always something, When you shoot a YouTube
video that you forget. You either forget to turn something on, Or record something or activate something. This time it was the lights. Anyway, okay. This is my regular shot. Got the lights on, the color
rendition looks a little bit Different than the Sony 35
f/1.8 that I was normally using. And also for those people
that asked me the time About teleprompters, the little parrot one And what focal length you can use, This is 35 mil zoomed all the way in. If we zoom all the way out to 16 mil, Then you can see that we go
inside of the teleprompter, And you can see the entire thing, Which is why we can’t use 16. Also, this shot looks crazy. It looks like being John
Malkovitch somewhere, inside of… This is weird, but anyway, If we slowly start to pull back in, We’ll see that around
28 to 29 millimeters, Right around there is where
the teleprompter goes away. So that’s about as wide
as you could shoot, Maybe like 28, 29. And then we’ll go all
the way back into 35, And that’s the regular shot again, Just in case you wanted
to know how it would work With the teleprompter for
the parrot podcaster one anyway. It’s also a good time to tell You about the front filter thread,
Because I had to put the
adapter on for the teleprompter. It’s 72 millimeters, which
compared to the Zeiss, I think is the same, isn’t it? Yeah, they’re both 72 millimeters. So if you wanted to, I don’t know. If you were switching
lenses for some reason From one or the other, it’s the same, Filter diameter from the
Zeiss to the new power zoom, But we’ll talk about that in a second, Whether or not you should. We talk about value, but first, Let me tell you about
today’s sponsor Storyblocks, While you evaluate this shot. So sometimes you don’t
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gonna be able to go out And get it before you run outta time, Run outta money, or run outta patience By completely derailing
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learn more about them By using the link in
the description below. All right, now let’s
just talk a little bit About value and about
price, comparatively. So the Zeiss is I think $1350 USD, It’s somewhere around there, And the new lens is gonna
come in at around $1200 USD. So it’s gonna be less
expensive, which is good, Because it makes the
conversation a lot easier When it comes to buying a new lens. Basically, the new one is better In pretty much every way optically, Lighter, costs less,
and has more features. The only thing it’s
lacking, like I said, Is the optical, the
OSS, the stabilization. So that’s something you really need, And you think that that extra 5 to 10% Is gonna make a difference,
then go with this. Now, when it comes to… Like if the conversation
was should you run out And trade up your Zeiss, Or sell this one and get the new one? I don’t know that the improvements are… I really don’t think
they’re worth an upgrade. I wouldn’t necessarily call
it an upgrade from the Zeiss To the new lens. I think this is more, if
you’re shopping for a 16-35, This is probably the
better option to buy now. But if you already have the Zeiss, I think you’re still
getting 85% of the new lens. It would just come down to
if that power zoom, Maybe you’re using an FX camera And you can really utilize that
power zoom then, then yeah, That’s a huge difference,
’cause you just can’t zoom
the same way on the Zeiss. And you can see the Zeiss actually zooms With the barrel extending as well. So, I mean, functionally, The new lens is just, it’s better. Like I said, it’s better in every way, But optically, the Zeiss
isn’t that much worse. So, I don’t know. I’m not trying to sell
you on either lens here. Personally, I don’t really
use a lot of 16-35 f/4s For what I shoot. If I had to buy one today, And you’re just asking me which
one would I buy of the two? I would buy the new one, and not Zeiss, ’cause it’s cheaper, and I
could use the features more. But don’t feel bad if you just
recently bought the Zeiss, You’re still in good shape. It’s still a great lens. But I mean, if you can return it And get the other one for
cheaper, I’d probably do that. But otherwise, you’re fine. Anyway, I think that’s pretty much it. I don’t have anything else to say. Buy the lens or don’t. Thanks for watching the video. I hope you enjoyed it, I hope was helpful or
entertaining or useful To you in some way. Thanks to Lindsey over here
for operating the zoom. Catch you on the next one. Alright… I’m done.
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