Pro video blog…Produced by Philip Johnston DoP/Editor

Sony G Master TITLE

To be truthful its about time Sony delivered some decent lenses for the “E” mount lens system. We have put up with f4 lenses for long enough.


For A7s owners this will become the “Standard” zoom lens though its at a cost of £1500.


This portrait lens the new 85mm f1.4 looks to be a cracker, our friend Gordon Laing from CameraLabs has had a play with this lens and judging by the photograph below its stunning.

beard 85


Last but not least the 70-200 f2.8 a great asset for photographers looking to get action shots without increasing the ISO.

Both FS7 and FS5 owners will benefit from these larger aperture lenses allowing a far greater shallow depth of field but remember they are full frame lenses so your 24mm will look more like a 36mm FOV.


Having been working in the video business since 1988 I have amassed a great amount of knowledge of both the kit and production values over the last 30 years.

12 thoughts on “Sony’s New G Master lens

  1. Sony boys need urgently full frame and s35 super wide zoom lenses with manual iris to compliment 28-135mm f4 lens. Not a still lenses.

    HDW : Jiri its a start and proof that it can be done…18-105 f2.8 servo zoom would be the ticket !

  2. Still no real zoom for video people (wide to tele). a 2.8 zoom gets tons of light and good definition , that worked for the stills people , well until the iphone came out with that huge optics delivering pretty much the same definition (but in a 1mm lens, so it must be all in the glass, right?)
    or in the marketing (maybe)
    may be? perhaps? nahhhh … good optics cost lots of money, so it must be all in the glass.

    HDW : We need an f2.8 10x servo zoom starting at 18mm.

  3. Philip , I’m losing patience about this nonsense. I’m getting old(er) and probably that’s why I don’t trust that the onemanband video can be pursued anymore. Think about it : years after the DSLR revolution (that made all of us realize that we had to produce garbage until then because we had nothing to compare at the time) and still in 2016 we dream about a decent (with no marketing restrictions) video camera with a real zoom and a “possible” ergonomic design like the ancient but perfect JVC 2000 (yeah.. the orange one). What’s going on? the prosumer segment does not exist anymore? everybody shoots movies with a budget actors a focus puller, a crew cranes drones and a director now?
    These new cameras are for movie sets !!!! and yet nobody says anything? Where are the wedding people? the events people? the college sport people? The oneguy video people?
    I’m sorry but I don’t get it.
    I bought a pmw-400 used and still for absurd money because I can’t produce with those dark prosumer camcorders (noone can, they are so dark that even on a sunny day are still dark). I have probably my last 1-year contract to shoot soccer games and then I will retire. But I’m asking if makes sense? any sense at all? in order to get a decent but “normal” camera with a servo, shoulder and no tricks on the processing one poor video guy needs to spend that kind of (absurd) money?
    and again (and for the last time): people, if you wanna shoot movies then get a GH4 !!!! that’s it.
    The onemanband video guys are extinct. Myself and I are a thing of the past. There are the new fellini now. with the fancy HEAVILY restricted gadgets at stratospheric prices.

    we have to cry for a servo zoom on a video camera? come on… really? I can’t believe this.

  4. Superwide is 15-50 f2.8
    with iris ring
    Like red pro 17-50 t3
    and then something like Tokina 11-20 f2.8
    with iris ring

    GL Optics might rehouse one

  5. I don’t understand Sony.
    Why give us a de-click 85 mm with manual iris ring (amazing) but drive the focus by wire?
    No way you can pull focus!

    Are we supposed to all work in auto focus mode?

  6. Too little too late. No pro thinks a 36mm wide is adequate – esp on the shoulder and with no IS. Do they have the advantage of being Parfocal? If not Metabones Speedbooster x0.71 with EF L is still the solution.

  7. Most stills guys theses days do work auto focus 99% of the time. These new G series are primarily still lenses. If you want quality cine type zoom manual focus lenses be prepared to pay the money or buy much older technology which is softer and has more CA.

  8. @ Chris
    “These new G series are primarily still lenses.”
    So, a de-click aperture ring is for still photography?

  9. De-click can work with stills beautifully with even finer adjustment than the one third stops commonly founds with still lenses. 35mm FF is not a standard cinema movie format so any lenses designed for the FF 36mm x 24mm film format are by nature primarily aimed at stills shooters. With the cross over of imaging devices these days a lot of people are using FF lenses on S35 cameras in spite of the crop factor. So it is nice now to have a silent smooth adjustment of the iris while actually rolling. Something we have had for years in film and video production lenses as an accepted part of the practice of filming. Much nicer to use than the visual and sometimes noisy jumps in luminance levels you get with stepped manual FF 35mm irises. It doesn’t get away from the fact these new Sony lenses are aimed primarily at the stills shooter even though they have certain benefits such as the “clickless” iris for video work. Bokeh without onion rings should be a nice feature of these new irises. Shame the focusing is aimed more at the stills world but you get what you pay for.

    Re zooms S35 Clickless long parfocal fast zooms unfortunately are not cheap and never have been because they are very complex heavy and hard to make. Like your Angenieux DP 25-250mm T3.5 weighing 16lbs and costing about $43K

  10. Sorry Chris I didn’t mean to imply that the iris was the main contributor to onion rings. The iris contributes more to the shape of the bokeh. Onion rings are not necessarily just the product of the molding surfaces in the element production cycle. If only it were that simple.

    “The appearance of ring patterns in blur disks is sometimes referred to as “onion-ring bokeh”. Such rings are not due to lens aberrations, but to aspherical elements or diffraction.”

    Much more on the causes can be found here:

    Deeper information can be found here but it means buying the book which I have read. I found it gives you a very sound understanding of how our lenses work:

    I don’t know your age but do you remember Newton’s Rings with 35mm Reversal film slides? Also part of the onion ring phenomenon. :))

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