Red lenses

If they are going for that little money nowadays... I'd take it all back! Yeah, gimme one of those!

BTW - Thanks! Fast lenses! That's the word right there! :)

It's actually not that hard, really. Every book I read on the subject was in English! :)
 
Thanks, acoreasc. Cinematographers are a band of brothers ... gotta help out my bros.* It's actually fun to remember the stuff I had forgotten. haha.

Next week I'll be unchained from my computer and back out in the world so I'm trying to be as useful as possible in the meantime.

*p.s. and the sistas too!
 
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Cooke Speed Pancros

Cooke Speed Pancros

For the S35 format, you may also want to consider Cooke Speed Pancro lenses. These lenses are predecessors to the current S4 series and are much beloved by many cinematographers. They don't have the razor sharpness of current lenses and they'll flare a bit more, but that shouldn't put you off. The image quality is beautiful. Hundreds of movies and thousands of commercials and TV shows were shot with Speed Pancros and they're still available at some rental houses.

There are several generations and series of Speed Pancros (Series 1, 2 and 3 -- the newer the better), various speeds, various remounts and customizations so you should do as much homework as possible to determine the best of what's available. I've seen them for sale on ebay and from rental houses. Deep detective work and persistence may turn up gold at bargain prices.

The focal lengths available are 18, 25, 32, 40, 50, 75, 100. Also a 14.5 and 12.5 I think, but my memory is fuzzy there.

There are older Cooke primes for 16mm too. Search for "Cooke Kinetal" lenses.

A small sample of search results:

http://www.visualproducts.com/storeProductDetail02.asp?productID=49&Cat=8&Cat2=19#bigPic

http://www.rarecameras.com/Motion18.html

http://www.filmcamerakit.com/html/arri_standard_primes.htm

http://www.arri16s.com/FilmClips.htm

CAUTION: NOT ALL LENSES WILL COVER S16.

The more you immerse yourself in the long history of cine lenses, the more you'll understand that your options don't have to break the bank.
 
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Canon K35 High Speed Lenses

Canon K35 High Speed Lenses

I previously mentioned these lenses:

http://images.google.ca/imgres?imgurl=http://www.visualproducts.com/images/store/s621c.jpg&imgrefurl=http://www.visualproducts.com/storeProductDetail03.asp%3FproductID%3D621%26Cat%3D8%26Cat2%3D18%26Cat3%3D26&h=83&w=110&sz=21&hl=en&start=3&tbnid=rDGcSUcgU6sn0M:&tbnh=60&tbnw=80&prev=/images%3Fq%3Dcanon%2Bk35%2Blens%26svnum%3D10%26hl%3Den%26hs%3DnFb%26lr%3D%26client%3Dfirefox-a%26rls%3Dorg.mozilla:en-US:official%26sa%3DN

They're outstanding! Gorgeous glass. I used them often for 35mm shooting, including some really low light situations. They frequently amazed me. Super sharp and nice contrast. Turn off the lights and shoot. This looks like a good deal, IMO. If you needed a set of high speed 35mm lenses and have $10k, you can't go wrong with these. They're geared for follow focus systems and already PL mount. Beauties. Don't be afraid to negotiate the price.

In case anyone is wondering, I have no affiliation with any of the companies in the links I provide.
 
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OK, I'll give you (and me) a rest and get my work finished. Sorry if I'm overloading the thread. I'm a lens enthusiast as you may have deduced.
 
Canon K35 25-120 (125?) 2.8 Macro Zoom

Canon K35 25-120 (125?) 2.8 Macro Zoom

If you can find one of these zoom lenses in better condition and maybe not from a Russian seller (sorry Russia), you should seriously consider it. It has a large barrel diameter, but it's not very long for a 35mm zoom. Close focus capability. I used this zoom with the Canon K35 series primes and found it to be pretty good.

http://cgi.ebay.com/Canon-K-35-Macro-zoom-lens-ARRI-Arriflex_W0QQitemZ150010661627QQcmdZViewItem

The ad says it's 25-120 f2.8, but I remember it being a 25-125. I could be wrong.
 
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thanks

thanks

Thanks for doing all that work for me.

I was thinking I would get S16mm lens and film at 2K. The reasoning was that I could down convert to 1080 or up convert to 4K if needed.

You said that filming with that set up would not be so great if I am reading correctly.

So the best way (for the budget minded), if I am reading is to use a 35mm lenses and film at 4K and then down convert to 1080p.

I was thinking S16 would save me weight and bulk. Also I like more depth of field.

Will RED down convert 2K to 1080 easily in post production?

I am still trying to figure out what lens set up is best for me.

I want to make nature films. I want a light weight rig. I then want to edit and sell the films on Blu-ray discs.

What do the experts think I should get as far as lenses and the format I should shoot in?
 
Thanx Greg, although I tried to avoid mistakes, anyone who feels that there is something wrong please say it!
I was skeptical too about the simplicity of calculations but I think the graphic and the choice for the same aspect ratio for all the formats proves the concept -or so I think. I tried hard to find an evidence that proves that this is wrong but I couldn't find any.
 
Acrochordon said:
So the best way (for the budget minded), if I am reading is to use a 35mm lenses and film at 4K and then down convert to 1080p.
Click to expand...

Yes, that's what I meant. The S35 (full frame) format will give you the maximum quality that RED can output even in 1080p.

Acrochordon said:
Will RED down convert 2K to 1080 easily in post production?
Click to expand...

You will need this if you capture in S16. For me, one of the most important things I want from RED is a 4K->1080p downconversion in camera (while capturing in S35 format, I mean while using the whole sensor). This will definitely be a big selling point for this camera.
 
that lens is for 2/3" format. It's far too big to carry around for wildlife work. Also, Panavision doesn't sell its cameras or lenses. They're only available for rent. I would guess that it's a $100,000+ lens.
 
Some excellent S35 info Greg, and thanks for the computations Proteus! The forum database of collective lens knowledge has increased exponentially on this thread. That's how forums are supposed to work...

One thing that is becoming increasingly clear: there are a myriad of lens options, format options, and accessory options with the RED camera system. When we get the cameras, we'll all be scratching our heads and be totally scheming on what type of project to tackle first. We've all been used to having to buy or rent multiple cameras for different genres of production. To simply have the same central camera system, and interchange lenses and accessories for the next project will be a dream come true for those of us who've labored through a traditionally compartmentalized motion media industry. And for the new guys to the industry - you're entering at what is undoubtedly the most exciting time in motion media history! Not just because of cameras like RED, but because pervasive digital technology, coupled with increased affordability, will open a lot of doors for you - assuming that you have talent and the tenacity to gain real-world experience.

Getting back to lenses, I was reading a report recently about Director Robert Altman's latest feature film. It's titled "A Prairie Home Companion", and stars Meryl Streep, Lily Tomlin, Woody Harrelson, Kevin Kline, and Tommy Lee Jones (think they had a budget for stars?). The cinematographer is Ed Lachman (Far From Heaven, Erin Brockovich). They're shooting it with several modified Sony F950's (HDCAM SR 4:4:4). They thing that caught my eye was their lens choice. Altman likes to move and zoom cameras a lot and shoot with multiple cameras and focal lengths simultaneously. Their lenses of choice for the feature? Fujinon S35 digital cinema zoom lenses, the HAe5x6 (6-30mm), and the HAe10-10 (10-100mm).

I love using primes in cinematography and photography, but I also love using good quality zooms when a project's production values call for it. As long as they don't breathe and the optics are clean I don't hesitate using zooms on my projects, unless a prime is obviously the better choice for the type of shots I'm after.

Gibby
RED #8
www.cut4.tv
www.4umat.com
 
Proteus said:
For me, one of the most important things I want from RED is a 4K->1080p downconversion in camera (while capturing in S35 format, I mean while using the whole sensor). This will definitely be a big selling point for this camera.
Click to expand...
I agree and I would add 4k --> 2k downconversion in camera --> 1080p downconversion@post.
 
That is my plan Use 35mm glass shoot 2k scaled (that is 4k worth of sensor) Then down convert from there if needed. I have a question : How much trouble would I run in to mixing glass? I mean brands. And ones to avoid
Thank you
 
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JTmoney: Some lenses render color a little differently. For example, Zeiss tend to be cool, Canon and Cooke a bit warmer. So it depends on what sort of glass cocktail you're mixing. But it's not really a big deal with high quality lenses. Little differences can always be color corrected in post. Sometimes the manufacturers even get their raw glass from the same foundry. But specific coatings, etc., can create different color characteristics. Color differences are less of a problem than resolutuion differences. I can't think of any lenses to avoid. But lenses do have personalities. If you're using older lenses (pre 80s/90s), it's probably best to seek opinions about any quirks you may encounter, particularly with zooms.
 
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acrochordon said:
I want to make nature films. I want a light weight rig. I then want to edit and sell the films on Blu-ray discs.

What do the experts think I should get as far as lenses and the format I should shoot in?
Click to expand...

My wildlife, nature, and sports stock footage and stills have been marketed online for some time now, in SD and HD resolutions. I shoot a ton of marine mammals, birds, seascapes, alternative sports, etc.

I could give you some input on lenses for different types of nature shots, but to not re-invent the wheel, my opinions definitely parallel those of wildlife cinematographer James Ewen, who gave an excellent summary of his lens recommendations this past January on DV Info. He correctly observed that almost all of the traditional nature cinematography has been done in S16 format. My nature stock footage originated in S16, DVCProHD and HDV, and it licenses out regularly. He gives his recommendations for zooms, wide angles, standard lenses, and long lenses. Though he mentioned the Canon 300mm f2.8 'L' series lens, I would add that the new RED 300mm f2.8 lens should definitely be added to a list of wildlife & sports long lenses.

Link: http://www.dvinfo.net/conf/archive/index.php/t-58918.html
(though I'm sending you offsite for this info, be sure and return to this DVX User thread)

Where I can lug S35 lenses into the wilderness, I'll definitely look forward to shooting nature, wildlife, and sports stock footage with S35 lenses in 2k scaled (60 fps, 24 fps), 2k windowed (120fps, 60 fps, 24 fps, focal length doubled). I may also shoot some footage in S16 2k windowed (120 fps, 60 fps, 24 fps) and 1080p with an HD ENG zoom lens (120 fps, 60 fps, 24 fps).

Gibby
RED #8
www.cut4.tv
www.4umat.com
 
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