I'm in need of a few good lenses...

[Evin Grant]

Some of you may have noticed that we are embarking on a new SALT (So-Cal Alternative Lens Test).
Although between the various contributors we do have quite a lot of optics to bring I may be missing a few lenses that I think are key to a full and fair test.
If anyone here has most or all of these lenses, (in exemplary optical/mechanical condition) then I may invite you to be part of the test next week in LA.
It may be two days, but we're trying to make it more manageable this time so that it'll actually be realistic to wade through all the footage and make proper conclusions.
This also means only testing one lens from each brand per focal length and only testing matching or closely matching lenses.
There will also be PL mount Cine lenses used for control/reference.
PM me if you've got what it takes.

Also depending on certain factors I may need an Optitek Prolock and Red Canon mount for Epic.

This is what I'm pretty sure we don"t have...
Latest version Canon EOS:
16-35mm f2.8
70-200mm f2.8
24mm f1.4
35mm f1.4
50mm f1.2
85mm f1.2

I'm not sure if we'll have....
Zeiss ZF/ZE/CP.2:
20mm f2.8
24mm f2/f2.8
28mm f2
35mm f1.4/f2
50mm f1.4/f2 macro
85mm f1.4

[BigLu]

Your welcome to my EPIC Canon mount and 26inch panasonic monitor, 30 inch cinema display and REDrocket cart.

Luis

[Jiri Vrozina]

I did not know Zeiss made ZE/ZF 20mm and 24mm.

[Paul Ellington]

Some of you may have noticed that we are embarking on a new SALT (So-Cal Alternative Lens Test).
Although between the various contributors we do have quite a lot of optics to bring I may be missing a few lenses that I think are key to a full and fair test.
If anyone here has most or all of these lenses, (in exemplary optical/mechanical condition) then I may invite you to be part of the test next week in LA.
It may be two days, but we're trying to make it more manageable this time so that it'll actually be realistic to wade through all the footage and make proper conclusions.
This also means only testing one lens from each brand per focal length and only testing matching or closely matching lenses.
There will also be PL mount Cine lenses used for control/reference.
PM me if you've got what it takes.

Also depending on certain factors I may need an Optitek Prolock and Red Canon mount for Epic.

This is what I'm pretty sure we don"t have...
Latest version Canon EOS:
16-35mm f2.8
70-200mm f2.8
24mm f1.4
35mm f1.4
50mm f1.2
85mm f1.2

I'm not sure if we'll have....
Zeiss ZF/ZE/CP.2:
20mm f2.8
24mm f2/f2.8
28mm f2
35mm f1.4/f2
50mm f1.4/f2 macro
85mm f1.4

If you pay for shipping and return I can lend you the Canon 50mm 1.2

[Brad Webb]

Any chance of testing the Sigma 30mm f1.4 and the Sigma 70-200mm f2.8?

It would be interesting to see how some of the off brand glass holds up.

[Nick Morrison]

Wish I was in LA, I'd lend you guys my two pelican cases of Contax Zeiss's....Shame.

[Justin McAleece]

I have all those Canon lenses and would be more than happy to bring them down to the shoot since I'll be swapping out my RED next week anyway. I also have the Ti Canon mount.

[soren k jensen]

Dear Evin,
If at all possible, I'd love to see a test of lenses like Nikon 18-200 VR. For someone that would have loved the Scarlet 2/3 fixed, this type of "super zoom" is the practical answer in many situations. Docs, run and gun. In spite of the obvious problems.

[Evin Grant]

Unfortunately Soren I have to put some reasonable limits on the number of lenses to test. You have already acknowledged the trade offs of the super zoom for the type of shooting you're doing so I don't see how pitting them agains the 2.8 Pro lenses will help you. If the images look good to your eye, shoot it and don't worry about it. This test is about determining the advantages and look of each set of still lenses used on Epic/Scarlet so Redusers can make informed decisions about buying or renting glass. I full expect every lens we test to perform well enough optically for a 4K feature film release.
The real question is what qualities and character do each bring to the table.

[Phil Holland]

In my experience the nasty test for most still lenses will come down to:
- focus breathing
- barrel distortion
- chromatic aberrations

Sharpness, contrast, and color reproduction is a real mixed bag of nuts too, but for most "quality" still lenses they perform pretty well. Not A++, but not flunking the test at all.