My guess is that the lenses are rehoused Minoltas. Sony own the company so it would make sense, doesn't it?

My 2c

Peter

Zeiss, especially speeds, are not the be-all, end-all, unless you're talking about Masters. I don't know anybody that uses those on a regular basis.

I shot a 11 camera concert on Reds a while back, and had every lens under the sun going, including all the Red zooms at the time. The only lens that did not hold up was an old Cooke 25-250.

In general, any lens designed within in 5 years or so, which is applying to the new wave of zoom rehousings, and any of the Red, UniqOptics, etc primes coming out, are sharp almost to a fault. I have yet to see one that is less than razor sharp. At worst, they just seem to lack any character (aka pretty flaws).

Not unlikely, but going forward Sony appears to be aligning themselves with Fujinons new PL lenses, especially for the F35 and 9000. I believe I've seen a package deal with the higher end cams and the Fuji zooms on the SonyUS or UK site.

So this, and just seeing them in person and seeing Fuji green in the markings has me guessing Fujinon.

I did meant to say Master Primes, meaning that if you want that quality well thats the only way you're going to get it. So for me from what I've seen the Sony PL's are a nice bunch to own just for the heck of having proper semi-fast primes that I can offer in my own kit without a client having to pay for a rental outside of me, which makes them happy.

I see a lot of lenses coming out with this "anti-character" look, I believe thats what the sony's look like too. Its not that bad, its just not anything spectacular either, but technically good.

Dang. You have some crazy high standards.

For what it's worth at the F3 launch last night in Sydney the Ultra Primes were mentioned as being a good 'fit' with this camera by Jason Wingrove.The stated benefit was the light weight of these lenses meant the camera can be used without rods and FF gear. A matte box can simply mount on the lens. This gives a rig that is very fast to use, a big plus for how were shooting, grabbing shots as the opportunity arose.

By those standards, Zeiss Standards and Superspeeds would be even better. You don't even really need a mattebox for some work, many times the only filtration I'm using on a Canon is NDs, and now that's built into the body on the F3.

The Red 18-50 can be found easy for around $2800. I expect it will be a very handy lens for this thing.