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In a recent interview with a Japanese photographer/journalist concerning the development of the FE 50 1.4, the topic of the cooperation with Zeiss was raised and Sony was not very forthcoming concerning details. Below is what I posted in the FE 50 1.4 thread. Again, this is just me translating parts of that pretty long interview, so don't shoot the messenger.
http://dc.watch.impress.co.jp/docs/news/interview/1022665.html
I found this interview quite interesting: Here are just a few points. If you want to dismiss them as stupid marketing talk feel free to do so, but some may find those comments interesting:
The interviewer asked the same question that has been asked by many here, namely why isn't the FE 50 1.4 a GM lens? The vague answer was that the GM lenses were all about "ultimate resolution and ultimate bokeh". The 50 1.4 was the result of a "fusion of Sony's technology and the traditional CZ lens design philosophy". In addition, they said Zeiss' rigorous production standards applied to CZ lenses (which is pretty much what the blurb on the Zeiss website explains). The Sony staff said the FE 50 1.4 was co-developed with Zeiss, but when pressed about the details of this collaboration, they said they couldn't elaborate on details.
The interviewer also asked about the lens road map up till now (unfortunately, nothing on the lens road map going forward): Basically, the slower, smaller lenses like the 55 1.8 came first, then with the introduction of a higher spec body (read a7rii) came demands for f2.8 zooms and f1.4 primes and Sony obliged.
Asked about the size and pricing, the answer was there was no free lunch, i.e. they had to make it this big to perform the way it does from wide open. And besides, if people wanted smaller, they should just pick the 55 1.8.
They employed 11 aperture blades to get close to round bokeh balls by around f2.8. When pressed what Sony considered best bokeh, they referred to the a-mount 135 STF. With the 50 1.4, the design goal was to prevent the double edged bokeh rings, but they admitted that shooting for great bokeh and great resolution at the same time was always a challenge.
They wouldn't say how many lens production facilities Sony has right now (even though one probably could look that up in an investors' report), but stated that high quality aspherical glass (like the AA elements) was made in a Sony facility in Aichi prefecture in central Japan.
One last interesting note is that the interviewer in his impressions at the end said, the FE 50 1.4 concept of high contrast and sharpness from wide open reminded him of what Zeiss did with the Otus series.
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