DigiOptical 18-50 Zoom initial look with pictures

I'm just perplexed why these lenses that are identical to RED's lenses, were A) selling much cheaper, B) cost so much more from RED, and C) why suddenly one of them has been discontinued. Lots of whackiness all at once the way I see it.

Well, I suppose the logical reason would be that DigiOptical could have been OEM'img them for Red. And when Red discontinued them, DigiOptical decided to sell them directly, and without Red's necessary markup in there, they can obviously offer them for less. And why are they cheap? Because they're not really all that good, which is why Red discontinued the 18-50 and instead developed the RPP 17-50. By all reports they had pretty good glass, but lousy mechanicals and variable build quality. Which doesn't make them bad, instead it makes them quite a value if you can live with the less-than-cinema-standard mechanicals. Try to get a Zeiss LWZ (which is 15-45, so pretty comparable focal range) and you'll pay many, many times the cost. So as long as the glass is good and the mechanicals are usable, they still represent quite a value.

As far as I know Red has said they're not associated with the DigiOptical company, but I think anyone who has used both has said that they're identical so the assumption (and it is only an assumption!) that DigiOptical was the manufacturer for Red, seems reasonable. Or, we can take it a step further -- maybe there's another manufacturer, and Red had an exclusive deal with that manufacturer for, what, three years? And now that the exclusive deal is up, now the real manufacturer is free to sell to others and DigiOptical is buying those lenses from that manufacturer and selling them under their brand. That would be a way where the lenses could be identical, yet Red's statement of "we have nothing to do with DigiOptical" could also be true.

Or maybe DigiOptical is just manufacturing a knockoff/ripoff of the Red lens, like most of the CineCity products are knockoffs of other manufacturers' products. But with that "made in the UK" label, that seems less likely, and HeavyG will be able to tell us in short order whether the lens is a quality unit or a knockoff.
 
This discussion reminds me of Aliens. HeavyG is Bishop!

Ripley: Well, somebody's gonna have to go out there. Take a portable terminal, go out there and patch in manually.
Hudson: Oh yeah, sure! With those things runnin' around? You can count me out.
Hicks: Yeah I guess we can just count you out of everything, Hudson.
Bishop: [speaking under Hicks] I'll go.
Hudson: That's right, man.
Bishop: I'll go.
Hudson: Hey, why don't you go, man!
Bishop: [more loudly] I'll go.
Ripley: What?
Bishop: I'll go. I mean, I'm the only one qualified to remote-pilot the ship anyway.
Hudson: Yeah right, man, Bishop should go.
[Vasquez looks at Hudson with disgust]
Hudson: Good idea!
Bishop: Believe me, I'd prefer not to. I may be synthetic, but I'm not stupid.

Glad to be the guinea pig.
 
This discussion reminds me of Aliens. HeavyG is Bishop!

Ripley: Well, somebody's gonna have to go out there. Take a portable terminal, go out there and patch in manually.
Hudson: Oh yeah, sure! With those things runnin' around? You can count me out.
Hicks: Yeah I guess we can just count you out of everything, Hudson.
Bishop: [speaking under Hicks] I'll go.
Hudson: That's right, man.
Bishop: I'll go.
Hudson: Hey, why don't you go, man!
Bishop: [more loudly] I'll go.
Ripley: What?
Bishop: I'll go. I mean, I'm the only one qualified to remote-pilot the ship anyway.
Hudson: Yeah right, man, Bishop should go.
[Vasquez looks at Hudson with disgust]
Hudson: Good idea!
Bishop: Believe me, I'd prefer not to. I may be synthetic, but I'm not stupid.

Maybe you could come by the kitchen studio, and help with the tests?
 
How much was the lens if you don't mind me asking.. a 2.8 is pretty decent and hope the price is decent too.... nice find.
 
How much was the lens if you don't mind me asking.. a 2.8 is pretty decent and hope the price is decent too.... nice find.

I bought a two lens set: 18-50 & 50-150 package deal $6k.

However the 50-150 has been discontinued, so I'm not sure what the 18-50 costs on it's own.

If they are the same as the ones on the RED website the 18-50 is $3,995 and the 50-150 is $8,500.
 
Just rec'd notice that the 50-150 shipped today - should have it in hand by Friday-ish. I'll post up some pics of it, as well as some info about mechanics. Though at this point I don't think anyone can buy it.
 
My thought is that the 18-50 would be better paired with a shorter zoom on the AF-100 (an 11-16, perhaps?). With the 2x FOV conversion, the 50-150 gets awfully long...
I think I would prefer the shorter zoom then perhaps one longer (85?) prime?

Idk, just my initial reaction.
 
I don't know, I've got the 14-140 and I am frequently wishing for some more tele reach... just ordered the Lumix 100-300, that should be enough and it's got OIS (which is crucial at that range). So i think he'll probably get plenty of use out of the 50-150. But yes, a shorter 11-16 would probably go ideal with that 18-50. Or my favorite lens right now, the 7-14...
 
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My thought is that the 18-50 would be better paired with a shorter zoom on the AF-100 (an 11-16, perhaps?). With the 2x FOV conversion, the 50-150 gets awfully long...
I think I would prefer the shorter zoom then perhaps one longer (85?) prime?

Idk, just my initial reaction.

Not my style.
The sensor on the Af100 is marginally (negligible) smaller than cine35. In my entire career in film (20+ years) mostly as a producer, I can count on my left hand the number of times where a DP has requested anything wider than 18mm. If you pressed me I would say that only once or twice did we actually even get the case off the truck…

Aesthetically I find wider than 18mm on this size sensor to look unrealistic (?) Also once you get that wide with a PL cine zoom lens, you need to decide if you get the lens or buy a house.
 
I don't know, I've got the 14-140 and I am frequently wishing for some more tele reach... just ordered the Lumix 100-300, that should be enough and it's got OIS (which is crucial at that range). So i think he'll probably get plenty of use out of the 50-150. But yes, a shorter 11-16 would probably go ideal with that 18-50. Or my favorite lens right now, the 7-14...

I do prefer to shoot at the longer end...
 
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Not my style.
The sensor on the Af100 is marginally (negligible) smaller than cine35. In my entire career in film (20+ years) mostly as a producer, I can count on my left hand the number of times where a DP has requested anything wider than 18mm. If you pressed me I would say that only once or twice did we actually even get the case off the truck…

Aesthetically I find wider than 18mm on this size sensor to look unrealistic (?) Also once you get that wide with a PL cine zoom lens, you need to decide if you get the lens or buy a house.

Interesting to note. I actually am realizing a bit of this now. I just shot a music video using the T2i and we used a 12-24 for some of the wider shots and I realized (after reviewing the footage) that I wasn't a big fan of the super wide stuff... I thought it may have just been that specific shoot.
 
the 7-14 does look nice, and at that range the f/4 isn't too bad cause you have massive DOF anyway.
The 7-14 is just crazy wide. It's rectilinear, so you do get some stretching in the corners; that's fun for some stuff but it's not all that realistic so you have to be careful with it. But it's a lot of fun.
 
Interesting to note. I actually am realizing a bit of this now. I just shot a music video using the T2i and we used a 12-24 for some of the wider shots and I realized (after reviewing the footage) that I wasn't a big fan of the super wide stuff... I thought it may have just been that specific shoot.

That's not to say that a wide / super wide doesn't have its place as a tool to tell a story. If needed I'd slap an 8mm on the front.
 
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