The canon mount is great for indies. Opens up a whole world of possibilities.
Criteria is how much I like the images, how much my AC's like it, chance of paying itself off in a reasonable
amount of time and anticipated resale value, and reliability
Angenieux rouge 16-42 and 30-80 series are the best value / performance
Cooke 18-100 ( not as new, clean used one )
Angenieux 24-290 Optimo
Duclos 70-200 if Paul ever finds the time to make it.
Long Fuji / Arri 45-250
As a new Scarlet owner I would indeed very much like to see this test.
Just watched Shane Hurlbuts new lens test. Thought it was fantastic. But would love to see this same test on Epic/Scarlet.
Best Wishes and a very Merry Christmas
I think the CA is the biggest issue on the L Primes. THere is quite a bit more than their Cinema counterparts.
I want to make myself very clear here: I am talking about using the Canon glass with an electronic mount. I cannot imagine that Canon L-glass will fare very well when using a manual follow-focus, as those lenses simply weren't designed to be used in that way. The throw isn't long enough. But plug in a Birger electronic mount and/or RED's new electronic Canon mount, and those sorts of mechanical issues vanish.
I have not used RED's electronic mount (and it will likely be some time before I can do so), but we are extremely happy with the performance of our Birger/Canon/Impero combination on our RED One MX. Focus is repeatable and smooth as butter, you can change the focus "gearing" electronically at will, and focus can be done remotely without ever touching the camera.
I'm definitely not saying that L-series glass is the equal of the best cinema glass. Not at all. No one would say such a thing. I'm merely saying that anyone can achieve truly impressive, professional-quality results using Canon L-series or Nikon or Leica or (insert great stills glass here) glass on a RED camera.
And as for breathing, if there was ever an overblown lens issue, that's the one. Unless you are racking from the tip of your nose to all the way across the room, no eagle-eyed client would ever notice. Further, even if they did notice, half of those mentions would be good! ("I loved the way you slightly zoomed in there as you pulled focus from his beer to the zit on the end of her nose.")
I too would love to see this test. I have my order in for a Scarlet Canon TI mount and have already received:
TOKINA 11-16mm f/2.8
CANON 16-35mm f/2.8L
CANON 24-70mm f/2.8L EF
CANON 70-200mm f/2.8L IS EF II
With all the chatter about canon L lenses being subpar on the Epic I have been trying to decide if I want to return the 16-35mm and get the Nikon 14-24mm. So I would love to see the Nikon G glass vs. Canon L glass. Canon has the edge for me because I want to be able to us my "Little Bramper" with a Canon body and lenses for controlling exposer for time-lapse, and the Canon mount came out before the Nikon mount. How much will I loose by getting an adopter for the Nikon? I know it won't match as well as having all Canon, but I do mostly documentary work and this new rig will already be a big step up from my Panasonic HPX-500.
FYI the new Nikon D800 and D4 which will be announced at the beginning of 2012 will both have 1080p uncomressed HDMI out. The D4 will have 102,000 ISO, that's a pretty compelling C cam for video.
The D800 will be 36MP too.
Until the redmote-pro starts shipping there is no elecronic follow focusing with any still lenses.
Once it does I'll be very curious to see how the Nikon and Canon lenses respond to it. Exciting times.
re: zooms, the RPZ's would be very interesting to see.... again, only if you add zooms to the range.
Hey there, Evin. . .
. . . I was under the understanding that the standard REDMote could be used to control the focus of Canon lenses? Is this not true?
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