Not sure what is going on here, but I have bought several 7Art lenses over the years and have had consistently good luck with anything 50mm (equivalent) or longer, but mixed luck with shorter lenses, including the Sirui Nightwalker 24.
The 12mm Vision is very loose on the mount, but focusses nicely and is a winner optically.
The 35mm Spectrum is a little tight, hard to use without a follow focus and the mount has a tiny amount of play which is noticeable because of it’s tight focus pull. This varies between cameras and the one I use it on is the better of the two.
The 16mm Hope arrived today and well, the bad luck continues. The other two Hope lenses have been great. Nice and consistent mechanically, hand holdable, smooth, sharp.
The 16 has by far the tightest focus pull of any lens I have used in a while*, tight being possibly flattering and the mount on my G9II (first cam grabbed) is loose in the extreme, like the 12mm, but the 12mm does not resist focus pulling.
On the GH5s, it is less so, so being it’s likely home, all is ok I guess, but hand pulling is out of the question, it needs a follow focus and even then, it is a very different experience to the 25 or 50. I bought it as a gun-n-gun lens, which is nt where it would shine, if at all. T be honest, I have always suspected that for that type of work, an AF zoom lens (8-18, 12-60) would probably be used anyway.
It looks ok optically, well so far after a couple of images.
Ed. Soft down the left side with very bad, as in bright blue, blotchy CA (see bottom right). I struggled to get consistently sharp shots with it after about 50 attempts, then switched to the 25mm and got 4 out of 4. I feel it is poor close and de-centred.
It is going back and I will probably not bother with another.
In answer to the question I posed in another post, “Do you need a cinema lens?”, I guess for me it is also a tough question.
I do not need them for commercial work, indeed my go-to lenses for most of my commercial jobs are the safe and easy to use Lumix-S primes or the kit zoom for my S5’s, the 12-60 Leica for the G9II (used with stabe and AF for that role) and the GH5s, my most cine rigged of cams gets cine or stills glass as needed (often the 12-40 Olympus which has excellent optics, just worn mechanics).
The 25 and 50 Hope lenses were bought as matching interview lenses, but to be honest I have the Spectrum and Lumix primes and they are the 35/50 combo I use most.
I guess I just like having cine glass, the lenses I have are excellent, the experience is better than using AF stills lenses, promoting good disciplines when it makes sense to and they do look the biz, but no, I do not need them.
I am not going to make a movie, probably not even a documentary, just do little jobs that mean something to me, so I will call it here. Maybe another BMVA12g, so I can double cam with B-Raw.
My “head” ideal would have been the 10-25 and 25-50 f1.7 zooms in MFT, or the S-Primes (24 to 85) in full frame (35-135 APS-c), but probably not both.
From here, even though I prefer it and technically my two “best” video cams are MFT, it seems now my video direction is leaning more towards full frame, so possibly the 24 S-Prime to complete my set, or maybe the well liked 24-105 zoom or even a Sigma f2.8 model?