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Samyang 24mm T1 5 VDSLR ED AS IF UMC II Review | 54 Data compared

Avg. price: ~£450
Lens mount: Canon EF, Nikon F, Sony E, Micro Four Thirds
Maximum focal length: 24 mm
Maximum aperture (telephoto end): 1.5
Optical image stabilization: no
Maximum angle of view: 84.1 °

Samyang 24mm T1 5 VDSLR ED AS IF UMC II review. Compare 54 technical specifications and user reviews to see how it ranks among camera lenses and if it is worth buying.

6.6

Good

6.4

Good

7.3

Very good

7.3
Low-light photography
Score components:
70.0%
9.9
Maximum aperture (telephoto end)
30.0%
1.0
Optical image stabilization
4.7
Travel
Score components:
30.0%
?
Lens length
25.0%
7.2
Lens diameter
25.0%
1.0
Weather sealing (splashproof)
20.0%
1.0
Optical image stabilization

Best prices in UK

Best rankings

#343 in Best Wide Angle Lenses
#772 in Best Camera Lenses

Verdict

The Samyang 24mm T1.5 VDSLR ED AS IF UMC II is a wide-angle cinema prime lens designed for full-frame sensors, featuring a fast T1.5 aperture and a complex optical construction of 13 elements in 12 groups, including four extra-low dispersion (ED) and two aspherical (ASP) elements. Its main characteristics include industry-standard 0.8 MOD gearing on 'de-clicked' aperture and focus rings, dual-side focus and T-stop scales for easy reading, and Ultra Multi-Coating (UMC) to reduce flare and ghosting. Pros include its exceptional low-light performance, smooth iris pulls for video, high-strength aluminium alloy build, and a close minimum focusing distance of 0.25m. However, common cons involve its entirely manual operation with no electronic communication to the camera, significant vignetting when wide open, and a tendency for images to appear slightly soft at the maximum T1.5 aperture.

Technical Specifications of Samyang 24mm T1 5 VDSLR ED AS IF UMC II

Overall score

6.6

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Popularity

What it is: An indicator based on the number of reviews received by the camera lens.

When it matters: When you want to see which camera lenses attract the most buyer attention and review activity.

Mount & Format

1.0

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Lens type

What it is: The optical category that indicates whether the lens is a prime, zoom, macro, fisheye, or another design.

When it matters: When you are choosing between a prime, zoom, macro, or specialty lens for the kind of subjects you shoot.

Importance: LOW

prime

Lens mount

What it is: The mechanical and electronic interface that determines which cameras the lens can be attached to.

When it matters: When camera compatibility and access to the right lens ecosystem are central to your buying decision.

Importance: LOW

Canon EF, Nikon F, Sony E, Micro Four Thirds

Sensor format coverage

What it is: The largest sensor size the lens is designed to cover without severe vignetting.

When it matters: When you need the lens to fully cover your camera sensor without heavy corner darkening.

Importance: LOW

Full-frame

Filter thread size

What it is: The diameter of the front filter thread used for screw-in filters and compatible accessories.

When it matters: When you plan to use screw-in filters such as polarizers, ND filters, or protective glass.

Importance: LOW

77 mm

Teleconverter compatibility

What it is: Whether the lens can be used with compatible teleconverters to extend focal length.

When it matters: When you want to extend reach for wildlife or sports without changing to a different long lens.

Importance: HIGH

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Optics & Aperture

7.0

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Minimum focal length

What it is: The shortest focal length the lens can provide, which determines its widest framing.

When it matters: When wide framing matters for landscapes, interiors, architecture, or travel shots.

Importance: LOW

24 mm

Maximum focal length

What it is: The longest focal length the lens can reach, which determines its telephoto reach.

When it matters: When you need more reach for wildlife, sports, stage events, or distant details.

Importance: LOW

24 mm

Optical zoom

What it is: The ratio between the longest and shortest focal lengths available in the lens zoom range.

When it matters: When you want one lens to cover a broader range of compositions without swapping glass.

Importance: LOW

?

Maximum angle of view

What it is: The widest scene the lens can capture at its shortest focal length.

When it matters: When you need to fit more of a room, skyline, or landscape into the frame.

Importance: LOW

84.1 °

Minimum angle of view

What it is: The narrowest scene the lens captures at its longest focal length.

When it matters: When you want tighter framing on faraway subjects without moving closer.

Importance: LOW

84.1 °

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Focus & Controls

6.1

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Focus motor

What it is: The autofocus drive system responsible for moving lens elements into focus.

When it matters: When fast, quiet autofocus matters for video, wildlife, street shots, or moving subjects.

Importance: LOW

N/A

Minimum focus distance

What it is: The shortest distance at which the lens can focus on a subject.

When it matters: When you like shooting details, food, flowers, or products from a very short distance.

Importance: MEDIUM

Maximum reproduction ratio

What it is: The highest magnification the lens can achieve when focusing at its closest distance.

When it matters: When close-up magnification matters for macro work, textures, or small product details.

Importance: MEDIUM

Full-time manual focus

What it is: The ability to adjust focus manually without leaving autofocus mode.

When it matters: When you want to fine-tune focus instantly without switching out of autofocus.

Importance: HIGH

Internal focusing

What it is: A focusing design in which internal elements move while the outer barrel length stays unchanged.

When it matters: When you use polarizers, gimbals, or close-up setups that benefit from a lens that does not extend while focusing.

Importance: HIGH

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Stabilization

4.2

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Optical image stabilization

What it is: A hardware system that shifts optical elements to counteract camera shake and reduce blur.

When it matters: When you want steadier handheld shots and less blur, especially in low light or at longer focal lengths.

Importance: HIGH

Stabilization effectiveness (CIPA stops)

What it is: The rated stabilizer benefit, measured in stops, under CIPA testing standards.

When it matters: When you are comparing stabilized lenses and want to know how much handheld shutter-speed advantage they offer.

Importance: HIGH

?

Build & Handling

6.3

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Weight

What it is: The total mass of the lens, affecting portability and handling balance on the camera body.

When it matters: When you carry a lens all day for travel, hiking, or event coverage and want to keep your kit manageable.

Importance: HIGH

Lens length

What it is: The physical length of the lens body from mount to front edge.

When it matters: When bag space, balance, or front clearance matters in a compact travel or video setup.

Importance: HIGH

?

Lens diameter

What it is: The widest outer diameter of the lens barrel.

When it matters: When grip comfort, filter size, or fit inside a tight camera bag matters to you.

Importance: MEDIUM

Weather sealing (splashproof)

What it is: Protective sealing intended to resist splashes, dust, and light environmental exposure.

When it matters: When you often shoot outdoors in light rain, dust, or changing conditions.

Importance: HIGH

Metal mount

What it is: A lens mount made of metal rather than plastic for greater durability at the camera connection point.

When it matters: When durability matters because you change lenses often or use heavier gear for work.

Importance: HIGH

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Lab Scores

9.0

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DxOMark overall score

What it is: The combined DxOMark lens rating based on lab-tested optical performance.

When it matters: When you want a quick lab-based summary of overall optical performance before comparing lenses in detail.

Importance: HIGH

?

DxOMark sharpness score

What it is: The DxOMark subscore that reflects how much detail the lens can resolve across the frame.

When it matters: When fine detail matters for landscapes, product work, or high-resolution cameras.

Importance: HIGH

?

DxOMark transmission

What it is: The measured light transmission of the lens, expressed as T-stop rather than nominal f-number.

When it matters: When real light loss matters for exposure consistency in studio, cinema, or mixed-lens shoots.

Importance: MEDIUM

?

DxOMark distortion

What it is: The DxOMark metric that measures how much the lens bends straight lines away from their true shape.

When it matters: When straight lines matter in architecture, interiors, copy work, or product photography.

Importance: MEDIUM

?

DxOMark vignetting

What it is: The DxOMark measurement of corner darkening relative to the center of the image.

When it matters: When even corner brightness matters for skies, studio backdrops, or clean product shots.

Importance: MEDIUM

?

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Samyang 24mm T1 5 VDSLR ED AS IF UMC II vs the average camera lens

Why is Samyang 24mm T1 5 VDSLR ED AS IF UMC II better than the average camera lens?

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1.3 lower f-number at telephoto end
Samyang 24mm T1 5 VDSLR ED AS IF UMC II has a brighter maximum telephoto aperture than the average camera lens (f/1.5 vs f/2.8). The average lens has a maximum telephoto aperture of f/2.8.
What it is: The widest aperture available at the long end of the zoom range, affecting light intake and background blur.
When it matters: When you shoot at the long end in low light or want stronger background blur for portraits and sports.
Importance: HIGH
Samyang 24mm T1 5 VDSLR ED AS IF UMC II has a brighter maximum telephoto aperture than the average camera lens (f/1.5 vs f/2.8). The average lens has a maximum telephoto aperture of f/2.8.1.5 vs 2.8
Has aperture ring
Samyang 24mm T1 5 VDSLR ED AS IF UMC II has an aperture ring, the average camera lens does not. 31.2% of camera lenses include an aperture ring.
De-clicked aperture ring.
What it is: A dedicated ring on the lens used to control the aperture directly.
When it matters: When you want direct tactile control over exposure while shooting photos or video.
Importance: MEDIUM
Samyang 24mm T1 5 VDSLR ED AS IF UMC II has an aperture ring, the average camera lens does not. 31.2% of camera lenses include an aperture ring.
Has de-clickable aperture ring
Samyang 24mm T1 5 VDSLR ED AS IF UMC II has a de-clickable aperture ring, the average camera lens does not. 18.4% of camera lenses support a de-clickable aperture ring.
De-clickable aperture ring.
What it is: An aperture ring that can switch from stepped clicks to smooth rotation for video work.
When it matters: When you shoot video and need smooth aperture changes without audible or visible click steps.
Importance: MEDIUM
Samyang 24mm T1 5 VDSLR ED AS IF UMC II has a de-clickable aperture ring, the average camera lens does not. 18.4% of camera lenses support a de-clickable aperture ring.
Has focus distance scale
Samyang 24mm T1 5 VDSLR ED AS IF UMC II has a focus distance scale, the average camera lens does not. 48.6% of camera lenses include a focus distance scale.
What it is: A marked scale that shows the approximate focus distance set on the lens.
When it matters: When you pre-focus manually for street, zone focusing, or repeatable tripod setups.
Importance: MEDIUM
Samyang 24mm T1 5 VDSLR ED AS IF UMC II has a focus distance scale, the average camera lens does not. 48.6% of camera lenses include a focus distance scale.
2 more low-dispersion elements
Samyang 24mm T1 5 VDSLR ED AS IF UMC II has more low-dispersion elements than the average camera lens (4 vs 2). The average lens has 2 low-dispersion elements.
What it is: Optical elements designed to reduce color fringing by controlling how different wavelengths focus.
When it matters: When you want cleaner edges and less color fringing in high-contrast scenes.
Importance: MEDIUM
Samyang 24mm T1 5 VDSLR ED AS IF UMC II has more low-dispersion elements than the average camera lens (4 vs 2). The average lens has 2 low-dispersion elements.4 vs 2
0.05 m shorter minimum focus distance
Samyang 24mm T1 5 VDSLR ED AS IF UMC II has a lower minimum focus distance than the average camera lens (0.3 m vs 0.3 m). The average lens has a minimum focus distance of 0.3 m.
What it is: The shortest distance at which the lens can focus on a subject.
When it matters: When you like shooting details, food, flowers, or products from a very short distance.
Importance: MEDIUM
Samyang 24mm T1 5 VDSLR ED AS IF UMC II has a lower minimum focus distance than the average camera lens (0.3 m vs 0.3 m). The average lens has a minimum focus distance of 0.3 m.0.25 m vs 0.3 m
1.3 lower f-number at telephoto end
Samyang 24mm T1 5 VDSLR ED AS IF UMC II has a brighter maximum telephoto aperture than the average camera lens (f/1.5 vs f/2.8). The average lens has a maximum telephoto aperture of f/2.8.
2 more low-dispersion elements
Samyang 24mm T1 5 VDSLR ED AS IF UMC II has more low-dispersion elements than the average camera lens (4 vs 2). The average lens has 2 low-dispersion elements.
Has aperture ring
Samyang 24mm T1 5 VDSLR ED AS IF UMC II has an aperture ring, the average camera lens does not. 31.2% of camera lenses include an aperture ring.
Has de-clickable aperture ring
Samyang 24mm T1 5 VDSLR ED AS IF UMC II has a de-clickable aperture ring, the average camera lens does not. 18.4% of camera lenses support a de-clickable aperture ring.
Has focus distance scale
Samyang 24mm T1 5 VDSLR ED AS IF UMC II has a focus distance scale, the average camera lens does not. 48.6% of camera lenses include a focus distance scale.
0.05 m shorter minimum focus distance
Samyang 24mm T1 5 VDSLR ED AS IF UMC II has a lower minimum focus distance than the average camera lens (0.3 m vs 0.3 m). The average lens has a minimum focus distance of 0.3 m.

Optics & Aperture

Focus & Controls

Why is Samyang 24mm T1 5 VDSLR ED AS IF UMC II worse than the average camera lens?

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No rounded blades
Samyang 24mm T1 5 VDSLR ED AS IF UMC II does not use rounded aperture blades, the average camera lens does. 88.8% of camera lenses use rounded aperture blades.
8 rounded blades.
1 fewer aperture blades
Samyang 24mm T1 5 VDSLR ED AS IF UMC II has fewer aperture blades than the average camera lens (8 vs 9). The average lens has 9 aperture blades.
No full-time manual focus
Samyang 24mm T1 5 VDSLR ED AS IF UMC II does not support full-time manual focus, the average camera lens does. 68.4% of camera lenses support full-time manual focus.
Not weather-sealed
Samyang 24mm T1 5 VDSLR ED AS IF UMC II does not support weather sealing, the average camera lens does. 50.3% of camera lenses support weather sealing.
114.6 g heavier
Samyang 24mm T1 5 VDSLR ED AS IF UMC II is heavier than the average camera lens (640 g vs 525.4 g). The average lens weighs 525.4 g.
6 mm wider lens barrel
Samyang 24mm T1 5 VDSLR ED AS IF UMC II is wider than the average camera lens (83 mm vs 77 mm). The average lens has a diameter of 77 mm.
Not weather-sealed
Samyang 24mm T1 5 VDSLR ED AS IF UMC II does not support weather sealing, the average camera lens does. 50.3% of camera lenses support weather sealing.
What it is: Protective sealing intended to resist splashes, dust, and light environmental exposure.
When it matters: When you often shoot outdoors in light rain, dust, or changing conditions.
Importance: HIGH
Samyang 24mm T1 5 VDSLR ED AS IF UMC II does not support weather sealing, the average camera lens does. 50.3% of camera lenses support weather sealing.
No full-time manual focus
Samyang 24mm T1 5 VDSLR ED AS IF UMC II does not support full-time manual focus, the average camera lens does. 68.4% of camera lenses support full-time manual focus.
What it is: The ability to adjust focus manually without leaving autofocus mode.
When it matters: When you want to fine-tune focus instantly without switching out of autofocus.
Importance: HIGH
Samyang 24mm T1 5 VDSLR ED AS IF UMC II does not support full-time manual focus, the average camera lens does. 68.4% of camera lenses support full-time manual focus.
No rounded blades
Samyang 24mm T1 5 VDSLR ED AS IF UMC II does not use rounded aperture blades, the average camera lens does. 88.8% of camera lenses use rounded aperture blades.
8 rounded blades.
What it is: A blade design that keeps the aperture opening more circular for smoother out-of-focus highlights.
When it matters: When you care about smoother bokeh and rounder highlight shapes in blurred backgrounds.
Importance: HIGH
Samyang 24mm T1 5 VDSLR ED AS IF UMC II does not use rounded aperture blades, the average camera lens does. 88.8% of camera lenses use rounded aperture blades.
1 fewer aperture blades
Samyang 24mm T1 5 VDSLR ED AS IF UMC II has fewer aperture blades than the average camera lens (8 vs 9). The average lens has 9 aperture blades.
What it is: The number of diaphragm blades that shape the aperture opening and influence blur rendering.
When it matters: When the look of out-of-focus highlights matters in portraits, close-ups, or cinematic video.
Importance: HIGH
Samyang 24mm T1 5 VDSLR ED AS IF UMC II has fewer aperture blades than the average camera lens (8 vs 9). The average lens has 9 aperture blades.8 vs 9
114.6 g heavier
Samyang 24mm T1 5 VDSLR ED AS IF UMC II is heavier than the average camera lens (640 g vs 525.4 g). The average lens weighs 525.4 g.
What it is: The total mass of the lens, affecting portability and handling balance on the camera body.
When it matters: When you carry a lens all day for travel, hiking, or event coverage and want to keep your kit manageable.
Importance: HIGH
Samyang 24mm T1 5 VDSLR ED AS IF UMC II is heavier than the average camera lens (640 g vs 525.4 g). The average lens weighs 525.4 g.640 g vs 525.4 g
6 mm wider lens barrel
Samyang 24mm T1 5 VDSLR ED AS IF UMC II is wider than the average camera lens (83 mm vs 77 mm). The average lens has a diameter of 77 mm.
What it is: The widest outer diameter of the lens barrel.
When it matters: When grip comfort, filter size, or fit inside a tight camera bag matters to you.
Importance: MEDIUM
Samyang 24mm T1 5 VDSLR ED AS IF UMC II is wider than the average camera lens (83 mm vs 77 mm). The average lens has a diameter of 77 mm.83 mm vs 77 mm
10.8% lower user score
Samyang 24mm T1 5 VDSLR ED AS IF UMC II has a lower user score than the average camera lens (7.30 vs 8.091).
What it is: A rating that combines user reviews and the total number of reviews received by the camera lens.
When it matters: When real-world owner satisfaction and review volume matter to your decision.
Samyang 24mm T1 5 VDSLR ED AS IF UMC II has a lower user score than the average camera lens (7.30 vs 8.091).7.3 vs 8.09
60.5% less popular
Samyang 24mm T1 5 VDSLR ED AS IF UMC II is less popular than the average camera lens (3.98 vs 6.383).
What it is: An indicator based on the number of reviews received by the camera lens.
When it matters: When you want to see which camera lenses attract the most buyer attention and review activity.
Samyang 24mm T1 5 VDSLR ED AS IF UMC II is less popular than the average camera lens (3.98 vs 6.383).3.98 vs 6.38

Optics & Aperture

Focus & Controls

Build & Handling

Graphic comparison of Samyang 24mm T1 5 VDSLR ED AS IF UMC II and

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Third-party reviews

United Kingdom

United States

(Reviews last updated: July 2026)

What customers like about Samyang 24mm T1 5 VDSLR ED AS IF UMC II?

Exceptional value for money, often costing a fraction of professional cine alternatives
Fast T1.5 aperture allows for excellent low-light performance and shallow depth of field
Smooth, de-clicked aperture and geared focus rings are ideal for follow-focus systems
Solid build quality with a metal chassis and internal focusing that prevents lens length changes
Very sharp in the center, especially when stopped down to f/4-5.6
Excellent control over chromatic aberration and distortion

What customers dislike about Samyang 24mm T1 5 VDSLR ED AS IF UMC II?

Fully manual lens with no autofocus or electronic communication with the camera
Noticeable softness at the edges when shooting wide open at T1.5
Heavy vignetting at the maximum aperture on full-frame sensors
Manual focusing can be challenging on DSLRs without modern aids like focus peaking
Plastic outer housing parts feel less premium than higher-end cinema brands
No hard stop for infinity focus, which can complicate certain shots

Expert reviews

xdcam-user.com

26/10/2012

Summary of the review

Samyang 24mm and 35mm T1.5 Cine Lenses. Cine lenses for those on a budget

Alister Chapman’s review highlights the Samyang 24mm and 35mm T1.5 Cine lenses as high-quality, budget-friendly options featuring 0.8 mod gears and smooth, de-clicked irises, suitable for Super 35mm sensors. Pros include a fast T1.5 aperture for shallow depth of field, while cons feature notable softness in the 24mm lens at wide apertures and inconsistent gear positioning that hinders quick lens swaps.

markgaler.com

25/09/2015

Summary of the review

Samyang Cine Lens Review - Mark Galer

The Samyang VDSLR II Cine lens kit is a budget-friendly five-lens set (14mm, 24mm, 35mm, 50mm, and 85mm) that brings cinema-grade features to consumer DSLRs and mirrorless cameras, specifically tested on the Sony A7S. Designed differently from stills glass, these lenses use measured T-stops rather than estimated F-stops to guarantee consistent exposure across lens swaps. They feature a completely clickless aperture ring for seamless iris-pulls and standard 0.8 pitch built-in gears for effortless follow-focus integration. Key build highlights include internal focusing rings that prevent lens extension or filter rotation, letting shooters seamlessly mount screw-in filters and rod-supported matte boxes. Side-printed aperture and focus markings further optimize the physical design for crew members pulling focus. The core advantage of this kit lies in its aggressive, highly accessible pricing, opening cinema production to prosumers at a fraction of traditional costs. Performance pros include a solid, high-quality finish, smooth mechanical ring resistance, and exceptional compatibility with tools like the Fotga follow-focus rig and Sony's focus peaking. However, the review notes minor cons raised by hardcore cinema enthusiasts, such as a complete lack of...

fotointern.ch

29/04/2012

Summary of the review

The Samyang 24mm f/1.4 in Practice

This review evaluates the Samyang 24mm f/1.4 lens by comparing it directly against the premium Nikon Nikkor 24mm f/1.4G ED lens on a Nikon D800 body. The Samyang lens provides a massive 85-degree angle of view on full-frame sensors and is notable for its exceptional build quality, smooth internal manual focusing mechanism, and robust mechanical finish with a distinct matte lacquer. Optically, the reviewer notes that the differences between the two lenses are minimal, with the Samyang actually rendering slightly higher contrast images than the Nikon starting from an aperture of f/4. Its biggest advantage is the highly competitive price tag, costing roughly a third of its Nikon counterpart, making it a compelling high-utility choice for landscape, architectural, or low-light reportage photography. However, the lens has several distinct drawbacks, most notably the complete lack of autofocus, requiring users to rely on manual focus which can be tricky in the viewfinder and is best managed using Liveview magnification on static subjects. Optically, it exhibits a slightly stronger barrel distortion compared to the Nikon lens, and it is marginally less sharp when...

photoetmac.com

03/06/2016

Summary of the review

Field test of the Samyang 24 mm tilt-shift lens - Photo and Mac (repaired.com) | March 15, 2015 | Test of the Samyang 24mm T1.5 VDSLR II - Le Repaire

The Samyang 24mm f/3.5 Tilt-Shift lens provides a distinct advantage for architectural and interior photography by mechanically correcting vertical perspective distortions directly at the time of shooting. When compared to standard wide-angle optics—like the Sigma 24mm f/1.4 Art used in the test—the Samyang eliminates the heavy workflow of post-production software adjustments, saving significant time. A major benefit of this hardware-based shift mechanism is that it natively captures information in the bottom corners of the frame. Conversely, fixing perspectives digitally in programs like Lightroom stretches the image and shears away critical corner data, forcing users to rely heavily on content-aware filling tools. While the reviewer notes that the lens offers solid overall optical quality and a highly precise, fully manual perspective control system, it does come with several distinct trade-offs. On the downside, the lens is completely manual focus, lacks an autofocus system, and shows a noticeable color shift compared to rival lenses. Furthermore, the Canon mount version tested completely fails to transmit EXIF metadata to the camera, though the Nikon variant reportedly features an electronic chip to address this limitation....

kamera-express.lu

15/10/2020

Summary of the review

Review and features: Samyang 24 mm T1.5 VDSLR ED AS IF UMC II Canon M

This cine lens is highly rated by users for its exceptional optical and mechanical build quality, earning a perfect 5.0 out of 5 rating from reviewers who praise its reliability, design, and ease of use. It features premium, multi-coated glass elements, including two aspherical lenses, to deliver sharp visuals tailored for video applications. The lens is highly valued for its smooth, step-less aperture adjustments and geared rings, making it fully compatible with follow-focus systems for fluid transitions. Additionally, it offers a generous 77mm filter thread, a relatively close minimum focusing distance of 24–25 cm, and comes bundled with essential accessories like a lens hood, pouch, and caps. On the downside, this is a completely manual lens, meaning filmmakers must rely entirely on manual focus and exposure control, which might slow down fast-paced operations. It lacks any built-in image stabilisation, making steady camera support or a gimbal necessary for smooth handheld footage. Furthermore, with only 6 aperture blades, it may not produce the perfectly round bokeh balls found in lenses with higher blade counts. Finally, at a weight of 615 to...

digitalcamaralens.com

26/12/2017

Summary of the review

Samyang 24mm f/1.5 T AS IF UMC - Review and Test

The Samyang 24mm T1.5 ED AS IF UMC is a manual wide-angle lens specifically optimized for video production, adapted directly from its photographic counterpart. A major pro of this lens is its video-centric engineering, featuring integrated gear racks on both the focus and aperture rings for seamless integration with follow-focus systems. Furthermore, it boasts a continuous, clickless aperture ring that eliminates operational noise during recording. The mechanical operation is noted for being exceptionally smooth and free of play. Its internal focusing design prevents the front element from rotating, which simplifies filter usage. Optically, the lens suffers only a minor 0.1 EV loss in maximum light transmission compared to the photo version, while gaining a negligible 18 grams in weight. On the other hand, the lens presents several cons related to build materials and ergonomics. The exterior is constructed primarily of thermosetting plastic, and the aluminum anodised bayonet mount is rated as medium-to-low quality. It completely lacks environmental protection, featuring no rubber O-ring gasket or internal sealing against dust and moisture. For still photographers, the clickless aperture makes it difficult to...

digitalcamaralens.com

26/12/2025

Summary of the review

Samyang 24mm f/1.5 T AS IF UMC - Analysis - Review - Test

The DigitalCamaraLens review of the Samyang 24mm f/1.5 T ED AS IF UMC cine lens, tested on a Canon 5D Mark II, highlights a mix of strong focal performance and typical wide-angle optical challenges. On the positive side (pros), the review highlights excellent lateral chromatic aberration control across all apertures and evaluates the lens's sharpness using custom manual focusing for each specific f-stop to maximize precision. However, the lens suffers from several notable drawbacks (cons), including significant geometric barrel distortion measured at -2.15% (deemed highly noticeable at 2.5 meters) and extreme vignetting at wide apertures, which starts at a massive 233% (over 2 EV) at f/1.5 and takes until f/5.6 to drop below 100%.

directordefotografia.wordpress.com

05/12/2012

Summary of the review

First impressions of the BlackMagic Camera

The reviewed digital cinema camera is praised as a highly disruptive, budget-friendly option that delivers high-end cinematic results. Priced competitively at around 2,500 euros (bundled with DaVinci Resolve software), it punches far above its weight class by targeting the performance segments of premium cinema cameras from RED and Sony. The reviewer highlights its exceptionally clean signal-to-noise ratio, broad dynamic latitude (offering a theoretical 13 stops), and an uncluttered, easy-to-use touchscreen interface that supports multi-format recording in ProRes 422, DNxHD, and uncompressed RAW. This yields a smooth, organic log profile highly suited for professional colour grading and flexibility in post-production. YouTube · However, the camera possesses several design and operational compromises. Its unorthodox ergonomics make it heavy and awkward to manage handheld, necessitating the mandatory purchase of an external shoulder or hand rig for practical operating. Furthermore, the small sensor size introduces a steep 2.4x crop factor relative to standard 35mm formats, causing a severe shortage of true wide-angle choices and deep-focus field limitations unless pairing it with specialized lenses or heavy telephoto extensions. Additional structural drawbacks include an integrated, non-removable...

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