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Uses a quick release replacement mount

DZOFILM''''''''''''''''''''''''''''''''s lens review started with "Pictor Zoom" and has tested "Vespid". This time is "CATTA ZOOM". If you actually purchased and used Pictor Zoom, it may be a good match with DZO FILM.

Catta Zoom 70-135mm T2.9 on the left and Catta Zoom 35-80mm T2.9 on the right

The factory mount of this CATTA ZOOM is basically an E mount (Sony). However, my main machine is RED KOMODO, and it can only be attached with an RF mount. Moreover, I haven''''''''''''''''''''''''''''''''t found an adapter to convert from the E mount (lens side) to the RF mount (camera side) in my memory. It is difficult to replace the E mount with another mount due to the flange back problem. I searched a lot, but I couldn''''''''''''''''''''''''''''''''t find it, and I still search occasionally, but it doesn''''''''''''''''''''''''''''''''t come out easily, so I''''''''''''''''''''''''''''''''d like to know if any of the readers know ...

Among them, CATTA ZOOM seems to have developed a system that mounts can be easily replaced by yourself, and if you take the information on the official page, you can certainly do it. Moreover, it seems that other mounts are available as an option, so this may be possible! When I confirmed it, the editorial department said, "This time, please use the E mount." I had no choice but to give up, and the α7 IV had just arrived, so I was wondering if that was all right. When I avoided the cushion while thinking so, there were two small boxes apart from the lens box.

Oh! Maybe ..., when I picked it up, it was the other mount I saw on the screen. What''''''''''''''''''''''''''''''''s more, it was not the EF mount but the RF mount that was included in the package, so at this age I heard a voice saying "I did it!".

Some of the reviews I wrote in 2021 were searching for affordable lenses that fit KOMODO, so what I can use with KOMODO is the basis for me. So the head that I thought would be sent by E-mount came out in my voice ...

When I tried to replace the mount immediately after it got a little higher, I guessed that the button just before the mount and the dial that says LOOSE / TIGHT were related, but it didn''''''''''''''''''''''''''''''''t work. The mount does not come off even if I turn the LOOSE / TIGHT dial and press the button. However, when I turned the dial to the LOOSE side and pressed the button, the mount turned around for some time, and it came off very easily. What was my faint in agony ...

You can check the stacking of SIMs in the same way as Pictor Zoom. I don''''''''''''''''''''''''''''''''t think I often see the SIM because it is normal to ask a vendor to replace the mount, but it is also a part where you can check the structure of the lens. Also, replacing the Pictor Zoom mount was a screw-type and time-consuming process, but this is an epoch-making mechanism. Once you learn how to do it, you can replace it immediately at the site.

Especially for documentaries. This is because there are more options for walking with a single-lens reflex camera as a still. In case of emergency, you can use a single-lens reflex camera as a 2nd or 3rd camera, and you can take pictures. To attach the mount, fit the mount according to the groove, rotate it while pressing the button to temporarily fix it, and turn the LOOSE / TIGHT dial all the way to the TIGHT side to finish.

The strength problem cannot be measured by this test, but if you are worried, you can use the lens support. I feel like I''''''''''''''''''''''''''''''''m just barely using it because of its weight. There is no doubt that this is a great feature anyway.

Uses a drop-in rear filter

In terms of functionality, there is a drop-in filter slot. This is also highly evaluated. KOMODO bites Canon''''''''''''''''''''''''''''''''s mount conversion adapter when attaching an EF lens, but it is not included with KOMODO now, and Canon''''''''''''''''''''''''''''''''s "Drop-in filter mount adapter EF-EOS R drop-in variable ND filter" "With A" is used.

The reason is that you can use it just by inserting the ND filter or PL filter into the slot. This good maneuverability makes the type that attaches to the front lens direction difficult once it is used. However, it seems that the filter itself has not been released by DZOFILM yet, so it seems that it is laying the groundwork for future development. I think this is a good attempt from the future. By the way, it has been announced that ND / UV / streak / mist filters will be prepared.

User can freely change ND / UV / streak / mist filter

The front filter size is 77 mm, which makes it compact and lightweight.

The CATTA ZOOM has a slender diameter that fits in your hand, and the feeling of actually wearing it is clearly more compact than the Pictor Zoom. And I thought that I was conscious of the FUJINON MK series. The point that the T value is 2.9 is the same, and I think that the appearance of his slender long body zoom lens is similar. However, the CATTA ZOOM has a filter diameter of 77mm and the FUJINON MK series is 82mm, so it seems that the MK series is surprisingly thicker. Also, if it is 77mm, you can use the filter of the single-lens reflex camera you are using as it is. I don''''''''''''''''''''''''''''''''t know if the manufacturer consciously did that, but I thought it was following a good line. As I wrote before, it''''''''''''''''''''''''''''''''s helpful to be able to use your own parts.

However, I was worried about the astringency of the zoom dial. The focus and iris dials have a weight that you don''''''''''''''''''''''''''''''''t feel, and it feels like there is a slight rubbing sound. It''''''''''''''''''''''''''''''''s a good problem if you don''''''''''''''''''''''''''''''''t use the camera''''''''''''''''''''''''''''''''s built-in microphone, but I hope it will be improved.

Another thing I was worried about was the phenomenon that when zooming, the focus swelled in the middle and the focus was a little out of focus, but at the end, the focus was correct. I think it''''''''''''''''''''''''''''''''s just a characteristic, but I don''''''''''''''''''''''''''''''''t know why at the time of writing.

This series is available in 35-80mm T2.9 and 70-135mm T2.9. If you have both, you will be able to cover 35mm to 135mm, but if you want, it will cover 70 to 80mm, so if the wide-angle side is 24-70mm, it will be easier to use. With the Super 35, the angle of view will be about 1.6 times, so if you are installing a cinema lens, I would like to ask for specifications that match the mainstream sensor (Super 35).

Achieve a calm image-making taste

Let''''''''''''''''''''''''''''''''s move on to the important image. Since the mount was replaceable, I installed the 35-80mm T2.9 on the KOMODO and the 70-135mm T2.9 on the α7 IV and tested it. By selling this lens, he developed the three pillars of "natural, original, and real" as a design concept. It''''''''''''''''''''''''''''''''s true that the colors that pierce through aren''''''''''''''''''''''''''''''''t flashy, but I think it''''''''''''''''''''''''''''''''s a taste of knowing how to calm down.

If you write it like this, it doesn''''''''''''''''''''''''''''''''t mean that it''''''''''''''''''''''''''''''''s a pale color, but the color of the leaves, etc., comes out properly, and it seems to drop in the high-key direction, so I think it''''''''''''''''''''''''''''''''s easy to summarize when considering grading. Also, although it is sharp, it does not glare. Of course, it''''''''''''''''''''''''''''''''s neither fluttering nor glaring, so the calmness of the movie comes out naturally. It may be a matter of course, but it seems that it is not something that was born from steel, but that it is designed specifically for movies from the beginning.

The nature of the camera itself also has an effect, so it''''''''''''''''''''''''''''''''s important to keep that in mind. From the comparison of the main body, the result should be said. The photo-based α7 IV has clearer details, and I think it''''''''''''''''''''''''''''''''s perfect for those who like crisp images. The LUT hits S-Log3 (709) and is not graded by myself, but the green color is quite clear. The orange color is a little refreshing, but I think it''''''''''''''''''''''''''''''''s a favorite category.

Example of α7 IV + 70-135mm T2.9

* Click the image to enlarge

* Click the image to enlarge

* Click the image to enlarge

On the other hand, in KOMDO, the softness of the outline amplifies the atmosphere of the movie, creating a calm image. I just applied the RED LUT for 709, but the color was more vivid. What is interesting is that the orange color comes out vividly and the green color calms down.

It depends on the arrangement of the camera and LUT, but when you make a composition with these two units, you will have to do color correction properly. It''''''''''''''''''''''''''''''''s a hassle, so I end up with two turtles at KOMODO ...

Example of KOMODO and 35-80mm T2.9

* Click the image to enlarge

* Click the image to enlarge

* Click the image to enlarge

What I thought was good about this lens was how the bokeh balls came out. It looks almost like a circle and looks gentle. The more bokeh the ball is, the more it changes depending on the lens, so if you like to shoot with bokeh, you should choose it while paying attention to how the ball comes out. The atmosphere changes considerably depending on the shape of this ball, so if possible, check the actual machine or check the uploaded video. By the way, the Canon RF24-105mm F4 L used in the main has 9 aperture blades, but the CATTA ZOOM has 16. I imagine that it will allow light to pass through in a shape closer to a circle, and that is also something that we are particular about.

However, when using this lens, it is better to shoot with a setting that allows enough light. If the amount of light taken in is small, the outline may become sweet. As I experienced with Vespid, the phenomenon comes out when I attack to the limit where the exposure is slightly underexposed and it does not blow out due to the recent fashion. On the contrary, if you raise the ISO sensitivity to the extent that noise does not appear and take in enough light, you can get the image you expected.

Ease of mount replacement and drop-in filter slot are the points

Generally, when asked if this lens is present or not, I think it is. First of all, it is made with the movie in mind. And the contradictory idea of sticking to it while improving cost performance is also highly favored. And although it is long, it is also compact, and above all, the mount can be easily replaced, and a drop-in filter slot is provided, which makes it extremely expandable and convenient.

Still-type cameras have different mount shapes depending on the manufacturer, making it difficult to reuse the lens, so it is necessary to prepare a lens for each camera. It requires a wallet and strength, and it never seems so wasteful. Although it is the strategy of each manufacturer, it is a nuisance for users, and I think I wrote it before, but I would like to ask you to standardize the mount. There is a PL mount for cinema cameras, but it''''''''''''''''''''''''''''''''s also difficult to attach it to a single-lens reflex camera.

Proposals to solve this may have been made only by lens manufacturers, and that attitude can be expected for future development, and I think that manufacturers who are conscious of usability are reliable. Not only the functionality but also the color development and the calmness of the image are not bad, and considering them, I think that the cost performance is very good, so I think it is good to consider while checking the actual machine once. Cospa is obviously better than FUJINON.