2/3" b4 Relay Lens that you can actually purchase for your 35mm adapter

LuckyStudio 13

LuckyStudio 13

The Tapeless One
http://www.motionfx.gr/ggrelay.htm

How long ago since we heard from Letus and Breavis promising us their 2/3" b4 relay lens ? 2 - 3 years ago ?? Well.... Thanks to my good friend (you know who you are :nads:) , here is a $2000 Euro (~ USD$2540) 2/3" b4 relay lens from Greece that you guys can ACTUALLY BUY and start shooting with your 35mm DOF Adapter.
 
hehehhe :) amen to that :D

if someone is not too lazy, to send an email to them asking what's about that purple fringing, is it coming from "old arri lens" they're using or it's the adapter doing this?
 
Tomas Riuka said:
if someone is not too lazy, to send an email to them asking what's about that purple fringing, is it coming from "old arri lens" they're using or it's the adapter doing this?
Click to expand...


They said its coming from
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The latest update on the Letus B4 Relay Lens is that there will be two versions:

F2.0 lower price version(maybe $1000.00 less than faster version).

F1.6 faster version with better optics.

Here are my guesses for pricing and delivery, these are only guesses culled from a couple of sources; available in January-February, 2009 time frame, F1.6 version still expected to be $4500.00.
 
Ohhh, sorry I didn't notice the thread...

Purple fringing... Hmm... there are lenses like the Zeiss ZF 50mm F1,4 that fringe like crazy... especially bellow F2.8... I didn't knew that before I test it... actually the 28mm F2 is much much better... unfortunately all my tests are with the 50mm... And one TVC that I shot and agency permit me to use the footage as demo it was shoot with Arri SS 35mm 1.3 MKI at F2 so no luck with them also...

But on the demo footage where do you see fringe?

http://www.motionfx.gr/Files/Demo_footage_FiberGG.mov

This is being shot with the new relay...

As I told to another forum member...

By next week I will have finished my miniature ISO card... size of a S35 frame 24mm x 13.5mm and I will post frames from it to see the real performance and not the GG lens combination...

To build the chart I will print in my ARRI Laser a 4k chart in Kodak 2242 internegative that will resolving about 1400 lines in the answer print (positive film), then i will cut that frame and back light it on light box, get the frames and post them...

Also to correct the pricing we have a discount for the first 10 pieces as I said in my FAQ, so the price is 1700 euro's and delivery time is 3 weeks... during Christmas will be 4 weeks...
 
It won't. But the cine primes are typically made to have a wider maximum iris and optimized to be sharper at wide-open than an ENG lens.
 
Barry_Green said:
It won't. But the cine primes are typically made to have a wider maximum iris and optimized to be sharper at wide-open than an ENG lens.
Click to expand...

Barry,

That makes sense, just like Zeiss Super Speeds are optimized to be used wide open at T1.3. In the case of the Canon EJ primes, they are rated at F1.5, so the question is how much more shallow would that look compared to an ENG rated at F1.8? Hopefully it would be sharper and have better contrast and not have the port holing issues that some zooms would have.

The other question is, for those looking for the field of view and shallow depth of field of 35mm, are 2/3" Cine primes a viable alternative to a 35mm adapter and 35mm Cine or SLR primes? HD Cine primes are certainly a much more expensive alternative to most DOF adapters and SLR primes.
 
Just to get same idea of how diferent it is...

Lets say that we use a Zeiss ZF 25mm F2.8 on a DoF adapter and a Canon EJ 10mm F1.5 directly on camera...

We have a subject at 1.7m both lens wide open...

The field of view hight at subject distance will be in both lens the same 0.9m

On Canon the DoF will be 2.28m and on Zeiss just 67cm...

So on Canon everything will look focused and on Zeiss just the subject will be focused...

Actually there is no comparison... in terms of aesthetics...

But to have a 2/3 camera is good because you can do both 2/3 and S35...

I have a feature that 70% of the movie is night exteriors, so to have the actors sharp and the camera on a steady cam becomes a challenge for focusing... if you go with 50mm F2 then almost nothing would be in focus you have to shoot at F4 and above so two to three times the lights... so its better to use the 2/3 lenses since you can shoot 20mm at F1.5 and still have enough DoF to work with much less light...

So its not always good to have a super 35 DoF...
 
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