Considering some Schneider Cine-Xenar lenses... anyone use them?

  • Thread starter Thread starter G.P.
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Considering the Panchros are only 1 stop slower than the S4s, that makes them very interesting. Specially with ISO800-1600 cameras (question for Timur: have you done resolution chart tests comparing the S4s at T2.8 vs the panchros at t2.8?)

I´d complement the set with a faster 50mm just for ultra swallow depth of field.

I like the idea of the Schneider having a round iris. I didn´t know about the front elements extending >> not good.

I've shot only ones once with RPPs and they were really nice in terms of image quality but very very heavy. However, the F3 is so light that I don´t think the overal weight would matter.

If they´re hiring you as DP why would they care about the "brand" of your lenses as long as the images looks sharp and nice?
 
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macgregor said:
Considering the Panchros are only 1 stop slower than the S4s, that makes them very interesting. Specially with ISO800-1600 cameras (question for Timur: have you done resolution chart tests comparing the S4s at T2.8 vs the panchros at t2.8?)

I´d complement the set with a faster 50mm just for ultra swallow depth of field.

I like the idea of the Schneider having a round iris. I didn´t know about the front elements extending >> not good.

I've shot only ones once with RPPs and they were really nice in terms of image quality but very very heavy. However, the F3 is so light that I don´t think the overal weight would matter.

If they´re hiring you as DP why would they care about the "brand" of your lenses as long as the images looks sharp and nice?
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I have not put em up on charts, but Ryan patrick Ohara I think has. Also I've spoken to Guy @ ZGC the technician at the US cooke distributor, he says the performance is identical, to S4's only a stop slower. They are designed to intercut perfectly with S4's. Anyone who has rented them from me, does everything in their power to use them as much as possible. They really are gorgeous lenses.
 
You can see the cine-xenars in action at 3:21 in this video, wow thats more than just the front extending- the focus ring moves forward too? Now I know why this would be a big issue.

 
yep, you HAVE to get the chrosziel mattebox with bellows that they specifically make for these lenses so they don't smash into your filters. and you need the extra fat Arri gear for your follow focus so it won't slip off the lens when you start getting to infinity. Bokeh is out of control (in a good way) and really nice on skintones. optics are nice, but mechanics scream rehoused still lens, which they are. but doesn't mean you want it to feel that way.
 
tom.wong said:
yep, you HAVE to get the chrosziel mattebox with bellows that they specifically make for these lenses so they don't smash into your filters. and you need the extra fat Arri gear for your follow focus so it won't slip off the lens when you start getting to infinity. Bokeh is out of control (in a good way) and really nice on skintones. optics are nice, but mechanics scream rehoused still lens, which they are. but doesn't mean you want it to feel that way.
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What rehoused lenses do they use?
 
Some sort of Schneider telecentric machine vision lenses as far as I know.
(used for extremely accurate measuring from a captured image)
 
macgregor said:
If they´re hiring you as DP why would they care about the "brand" of your lenses as long as the images looks sharp and nice?
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production should let the dp choose, and the dp should be the one who cares. As you know mcgregor, it's more than sharp. It's not hard to make a sharp lens in 2011. Color matched lenses can help a picture keep high standards of continuity iin the image and save money in post. Good mechanics ensures consistent, rugged and reliable performance reducing issues of replacing, recalibrating or fixing lenses during production. Multiple, accurate and well spaced witness marks can help a focus puller do thier job and by better understanding where a lens is regarding distance, it reduces the chance of focus error during production. Saves money on reshoots or more time for more takes. Take all the marks on a cooke lens and compare it to the new sony pl primes... Which don't have witness marks... Just a few numbers on the barrel.

so even taking the
 
to finish my thought, the dp is responsible for not only choosing lenses which give the qualities he/she wants but also helps the production move faster, and with less issues. When dealing with high end lenses and a higher end production, you're not paying for sharpness but rather you're paying for all the other benefits that ensures a well photographed picture both on screen and during production
 
Just my .02. We purchased a set of Xenars (sans 18mm...not available at the time) 3 months ago and have been extremely satisfied. We rented a set of CP2's prior to the purchase and actually liked the Schneider better (plus the constant t stop throughout the set). We bought the kit with the Chrosziel MB, bellows and FF directly from Schneider USA and they all play very well with each other. You really don't even notice the lens throw and I don't know why people make such a big deal about it. At any rate, for what we do (broadcast advertising and the occasional doc), they perform beautifully on the R1 and AF100. IMHO, they are a fantastic lens in any price range. I can appreciate the value of name recognition in gear brands but in the 20 years I've been in the industry, I've never had a client specify one lens over another. That would be scary.
 
Joe Media said:
Just my .02. We purchased a set of Xenars (sans 18mm...not available at the time) 3 months ago and have been extremely satisfied. We rented a set of CP2's prior to the purchase and actually liked the Schneider better (plus the constant t stop throughout the set). We bought the kit with the Chrosziel MB, bellows and FF directly from Schneider USA and they all play very well with each other. You really don't even notice the lens throw and I don't know why people make such a big deal about it. At any rate, for what we do (broadcast advertising and the occasional doc), they perform beautifully on the R1 and AF100. IMHO, they are a fantastic lens in any price range. I can appreciate the value of name recognition in gear brands but in the 20 years I've been in the industry, I've never had a client specify one lens over another. That would be scary.
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great if owner operating, but nightmare if you want to rent them out too, considering they'd have to use your follow focus and mattebox to function properly. and a lot of DP's/ AC's can be particular about those items too. Lens market is a tough one, anything the sub 20k range with PL glass tends to have a lot of compromises.
 
With an EF to F3 mount adapter the Razor series seems like an AWESOME deal!

No clue concerning the IQ though never tried em.
 
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