. This is a new 16 35 F4 PZ or Pee Zee. If youre in the US, which stands for power zoom., So its 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 dont get to keep it. This video isnt sponsored by Sony. No money changed hands, but this video does have a sponsor, though, and thats Storyblocks.. All right lets 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 dont know where that went, but its probably stuck to me Or some piece of gear somewhere in here. So well find it eventually in the future, but the reason well 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 isnt bad and the focus is completely linear. When you manual focus, which is nice. And its not, I wouldnt call it extremely well dampened, but its smooth.

So smooth but light is the feeling of it. But the zoom ring. So this is whats interesting about it., So its focus by wire, its an electronic focus ring, but its 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 theyre almost like hovering on rails, and they can move back and forth really really quickly and thats how theyre 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 theyre 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 its all internal zoom, obviously, but its 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 cant, I guess physically zoom it with just the lens, if thats something you need., Also theres the thing I havent 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 its like it resets the electronic position of it.

. There is an AFMF switch, a focus, hold button and then another way to control. The zoom here is theres a zoom lever on the side of the lens, or you can turn this.. The reason to use the lever is that its gon na 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 its electronic and its kind of dampened, but its still, how its all Gon na 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 its clicked, but it has the click. Onoff switch on it, so we can turn that off. And then now it will go smoothly through the iris and theres. 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 wont be able to adjust the iris anymore by accident., So really for the size of this lens. Its fully loaded with like every sort of switch and lever and stuff youd expect to have on it. And Im, really surprised, theyre 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 its a pretty significant reduction. And in case you werent, able to see it there, its f4 to f22, 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 dont know, if its 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 didnt get any better on either end., So I think its pretty much truly parfocal, which is a nice touch., Actually lets go ahead and Ill. Give you a little bit of a demo of the zoom control. So Im using the FX3 here, which has the zoom toggle right here on the front.. But if youre 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 heres a little demo here.. Let me press record.

, So if I zoom in thats 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 Im zooming, you dont 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 youre doing., But with Sony its only the power zoom Lenses that dont have the focal length on the lens, then theyll show up on the screen.. But if I put the Zeiss on it, doesnt show up on the screen, because its 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 doesnt have the focus breathing compensation. With no compensation – the focus breathing is very, very minimal when you go from infinity to minimum, so thats great. And speaking of minimum focus on this One theres quite a disparity between the 16 mil and the 35 mil you get about the same distance from the subject., Its 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 wan na do the closeup stuff, you definitely wan na be on 35 mil. Some shots here of a Rubiks 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 cant really get close at all, even though the lens is close, but because its 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 dont, know how valid of test that is, but I was getting above 90.. So Ive 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 thats not really a practical test, but in case thats, something you wan na do or maybe youre 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, Im 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 wan na talk about the lens corrections on or off.. I dont think that theres 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 theyre 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 were 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 theyre very similar., Like I wouldnt, 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 its a better lens., Its newer. It performs better optically in this regard, but its 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 its not gon na 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 didnt make a significant difference like it does on the telephotos., So I dont know that that would be a determining factor for me in a buying decision.. I dont think I would buy this for the OSS cause. I didnt 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 theres, almost none so thats excellent., But you can fix that fringing on the Zeiss in Lightroom or in post, pretty easily. Its more of the LoCA, the longitudinal chromatic aberration. That is the one you got. Ta 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 dont see any chromatic aberration. Issues at all and sharpness is great. Its a great lens. For an f4, its a great lens.. The only thing that isnt particularly great about it when you close focus and you want that same sharpness, heres one at f4, 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 dont tend to do this, but the lesser lenses sometimes do, and you can see it here.

, So its not really something I would wan na do. If I wanted to get these sort of close up details, youre 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 youve got water theres some melting snow. In the background and we get down and close and theres 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 dont 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 youre 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., Its not perfect and sterile. But if you just wan na 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 theyre gon na get to because F4 and this focal length – and we do have that sort of outer membrane.. I wouldnt call it completely smooth. They look fine. Theyre, 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 doesnt really get any worse up there., So they keep pretty round shapes, which is nice. Its just that the contents Of the shapes can have a whole bunch of funky stuff in them, which can be interesting or not its up to you. Theyre, just not perfect G Master perfectly smooth orbs. And then, if you care about sunstars heres a couple f22 shots of the sun at 16. Mil and 35 mil. Again not overly pronounced sunstars, but theyre 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 wasnt as bad. Normally I see similar results in and out.. This is a lens that seems like practically in a real situation. Youre, probably not gon na have issues with flare, but in a artificial situation you can create strong flare. But put a hood on it. If flares something youre worried about. Every time I say that people are like, But I like, flare.

, Okay. Well then, dont put a hood on it, but you have the option at least and Im pretty sure, theres a hood in the box.. So you get a leather bag and a hood. Yeah its 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 dont 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 Im shooting at like f2.2 over there, and this is gon na be f4, but lets see how it looks. beep, Okay, the 16 to 35, is on that camera and Im also just realizing. I didnt 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., Its 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 f1.8 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 cant 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, well see that around 28 to 29 millimeters right around there is where the teleprompter goes, away. So thats about as wide as you could shoot, maybe like 28 29. And then well go all the Way back into 35 and thats the regular shot again, just in case you wanted to know how it would work with the teleprompter for the parrot podcaster one anyway., Its also a good time to tell you about the front filter thread, because I had to put the Adapter on for the teleprompter., Its 72 millimeters, which, compared to the Zeiss, I think, is the same isnt it Yeah theyre, both 72 millimeters.. So if you wanted to, I dont know., If you were switching lenses for some reason from one or the other, its the same filter diameter from the Zeiss to the new power zoom, but well talk about that in a second whether or not you should.. We talk about value, but first let me tell you about todays sponsor Storyblocks. While you evaluate this shot., So sometimes you dont have the shot. You need and theres no way youre gon na be able to go out and get it before.

You run outta time run. Outta money or run outta patience by completely derailing your creative momentum and thats, where Storyblocks comes in. Theyve got subscriptions for every budget that give you access to a vast royalty, free library, with unlimited downloads allowing you to use the footage worry free for both personal and Commercial projects. Theyre also focused on enriching their catalog, with diverse and inclusive content, to provide useful assets to creatives with varying needs and audiences., And this is all easily accessed using their intuitive interface. With filters for 4k video at multiple frame rates, along with backgrounds, overlays and After Effects templates. If youve never browsed Storyblocks before, I think youll be truly impressed by just how exhaustive their library is, and I encourage you to learn more about them by using the link In the description, below., All right now lets just talk a little bit about value and about price comparatively.. So the Zeiss is, I think, 1350 USD its somewhere around there, and the new lens is gon na, come in at around 1200 USD., So its gon na 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 its lacking, like I said, is the optical, the OSS, the stabilization. So thats, something you really need, and you think that that extra 5 to 10 is gon na 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 dont know that the improvements are …. I really dont think theyre worth an upgrade.. I wouldnt necessarily call it an upgrade from the Zeiss to the new lens.. I think this is more if youre shopping for a 16 35. This is probably the better option to buy now., But if you already have the Zeiss, I think youre still getting 85 of the new lens.. It would just come down to if that power zoom, maybe youre using an FX camera, and you can really utilize that power. Zoom then, then, yeah thats, a huge difference, cause you just cant 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 its better., Like I said its better. In every way, but optically the Zeiss isnt that much worse., So I dont know. Im not trying to sell you on either lens here.. Personally, I dont really use a lot of 16 35 f4s for what I shoot.. If I had to buy one today and youre just asking me, which one would I buy of the two, I would buy the new one and not Zeiss cause its cheaper and I could use the features more., But dont feel bad if you just recently bought the Zeiss youre still in good shape.

, Its still a great lens., But I mean if you can return it and get the other one for cheaper Id, probably do that., But otherwise youre fine. Anyway. I think thats pretty much it.. I dont have anything else to say.. Buy the lens or dont. 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 ..