who said f2.8 for the zoom lens

K

kalone

Member
I´m wondering where this information came from, the 300mm lens from Red is labelled to be a f 2.8 lens, but I´m reading over and over again from several people that the zoom lens will be a f2.8, too. Is that true ?

K.
 
Is it a bad idea to put money into a 24mm lens system (s35) when a 35mm chip might eventually become the standard for video capture?
 
Wait... a 24mm prime for S35? I'd put money into it if it was reasonable... who cares what the "standard" will be if you have your own camera.
 
35mm lens coverage

35mm lens coverage

Assuming that we are talking about the optical format of a lens, not its focal length.....

Frame sizes for 35mm photography and 35mm cinematography are different because of the orientation of the images on the film. One is written "along the length" of the film strip, the other "across the width" of the film strip.

Standard photography frames are 24mm high x 36mm wide, while Academy format cinematography frames are 22mm wide x 16 mm high, and a bit wider than 24 mm when working in Super35.

RED's Mysterium active sensor area - 24.4mm x 13.7mm - is very close to 3 perf Super 35mm film.
 
I think what Lowkus means is that the Red chip is 24mm wide rather than 35mm.

I am no expert on this but as I understand it the RED S35 format is actually the standard in film cameras. Other than with still photography the film goes through the camera with the perforations on the side instead of on the top and bottome. From side to side film is 24mm.

But maybe someone else could explain it better...

Oh - there you have it. Thanks Stuart :)
 
S35 is not the standard gate used in most hollywood movie ( S35mm uses the area where audio track goes- so at some point you need to reduce the image size for printing master/release prints) ..
academy is mostly used .. the standard 35mm (motion picture) frame is approx 4 perfs high -but when it is projected a little from top and bottom are cut off in the projector gate which leaves an area of approx 3 perfs being projected on the screen ...

you can rent camera's that shoot 3 perf ( 25% less film) but it just hasn't taken hold - remember that 99.9% ( other .01% projectors are in hollywood screening rooms) of the WORLD 35mm projectors are 4 perf and that isn't going to change .. so when you shoot 3 perf for theatrical release you'll have to do a conversion over to 4 perf for printing masters/release prints ...
 
Is the F2.8 Fstop an attmept to control the Cost of lenses? just curious, as i used some cookes on a project and they were all T1.3, as well as being horrendously expensive. Perhaps the slight loss in Apeture size permits high quality optics at lower cost. Is this the general thinking behind this move?
 
TimurCivan said:
Is the F2.8 Fstop an attmept to control the Cost of lenses? just curious, as i used some cookes on a project and they were all T1.3, as well as being horrendously expensive. Perhaps the slight loss in Apeture size permits high quality optics at lower cost. Is this the general thinking behind this move?
Click to expand...

I thinkso. Do you have any idea how expensive 1.2 apertures are? when you get to apertures that wide, the mechanisms become far more advanced and very costly to make. Its amazing how they get them to open that wide. Mind you, 2.8 is great. It will give you great shallow depth of field and a decent bokeh.
 
I don't know what the fastest zooms are out there (perhaps someone can chime in) but I doubt they go too much faster than 2.8. Of course primes are another story.
 
We designed the 18-85mm f2.8 zoom to be an "easy buy" for many who are stepping up to this large format. It is compact and high quality. Many major films have been shot with the Cooke 18-100 T3 zoom lens. So we are not far off. And our zoom is about half the length and weight.

We agree that some will opt for a set of Cooke primes. But we needed to provide a good solution for all those that cannot afford to spend a few hundred thousand for a set of lenses and don't like/want to rent. Our zoom will pay for itself (for many) very quickly.

The RED ONE is a very unusual camera. The sensor size and resolution is at minimum comparable to 35mm film. You start off by down-rezzing to 4k. Many industry experts have told us that the maximum they can measure with film is 3.2k.

Jim
 
Yea engineering a F 1.2 lens in either the Wide or telephoto end of the focal length spectum is quite a feat.

I imagine the F2.8 primes and Zoom will be of superb quality.

However, Red is about iso 160. Needs quite a bit of light to get a great picture. will make exterior locations, at night a bit of a challenge. But if youre using, a Red camera chances are you can afford proper lighting gear.
 
The sensor is natively iso 160, but that probably mean it can be "pushed" to iso 400 without noticeable grain increase...
 
Jannard said:
The RED ONE is a very unusual camera. The sensor size and resolution is at minimum comparable to 35mm film. You start off by down-rezzing to 4k. Many industry experts have told us that the maximum they can measure with film is 3.2k.

Jim
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Mr Jannard, it will be a priveledge to one day shoot on your camera. I hope i reach that point in my career someday.
 
Jim, is there any more that you can tell us about the design/manufacturing of the lens? I trust you guys with the camera but what steps are you taking to achieve high quality optics?
 
well they have all the tools neccesary to prodcuce optics. they are an eyeglass manufacturer after all. I probably would have a mental implosion if i tried to wrap my brain around what goes into optics engineering.
 
taubkin said:
The sensor is natively iso 160, but that probably mean it can be "pushed" to iso 400 without noticeable grain increase...
Click to expand...

I dont think the actual ISO of the sensor has been locked down, but i have seen tests at 400 and 800 ISO that are pretty amazing.
 
adaml said:
I don't know what the fastest zooms are out there (perhaps someone can chime in) but I doubt they go too much faster than 2.8. Of course primes are another story.
Click to expand...

its important as well to choose a zoom lense that has constant exposure throughout the zoom range.. or else you will need to rack your iris during a zoom.
 
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