Which lenses for Epic?

[Steven-Marc C.]

So, what do you think is going to be the glass of choice for Epic?

When I look at all the available options I feel like there is still a missing link here. The new Leicas look like the best combination but the price is too high and availability is probably also a problem. So what are we left with? RPPs are fantastic but for some uses it would be nice to have something lighter. Compact Primes look like a nice match but the lack of constant aperture across the range can be a deal-killer.

What are DOPs going to want to put in front of the Epic?

 

[rod bradley]

I suspect, for the most part, they'll be wanting to put the same lenses they like to put on a Red or any other cinema camera. The one huge area Epic will open up is the use of contemporary high-end still lens glass from Canon and Nikon, etc, with electronic control! -- which will definitely help going light. Another huge plus for the budget constrainted. And yes, it will be wickedly easy/fast to change mounts on set.

 

[Evin Grant]

I'm sticking with my Zeiss T2.1s for now, very compact and sharp.

 

[Steve Das]

... RPPs are fantastic but for some uses it would be nice to have something lighter. Compact Primes look like a nice match but the lack of constant aperture across the range can be a deal-killer....

So true.....hopeing the Red electronic zooms will be the ticket.

 

[Michael Hastings]

I suspect, for the most part, they'll be wanting to put the same lenses they like to put on a Red or any other cinema camera. The one huge area Epic will open up is the use of contemporary high-end still lens glass from Canon and Nikon, etc, with electronic control! -- which will definitely help going light. Another huge plus for the budget constrainted. And yes, it will be wickedly easy/fast to change mounts on set.

Anyone know, Will the sensor depth adjustment be such that you could just dial in a number or a saved setting for different mounts?

 

[Sanjin Jukic]

The newest Leica M aspherical series with special custom made Leica M mount for Epic.

5K READY, LIGHTWEIGHT, SHARP, FAST, some of it EXPENSIVE and also can be very CHEAP if you go vintage M variants with many other brands...

With that you have variety options and possibilities to get the best lightweight glass that can cover the circle needed for 5K.

Different brands: Leica, Zeiss, Voigtländer, even older Canon RF, Nikon RF and also some of vintage Russian rangefinder glass.

Also forget AC/FP just because you have to do all for yourself (pulling focus, etc,...).

 

[Elsie N]

I suspect, for the most part, they'll be wanting to put the same lenses they like to put on a Red or any other cinema camera. The one huge area Epic will open up is the use of contemporary high-end still lens glass from Canon and Nikon, etc, with electronic control! -- which will definitely help going light. Another huge plus for the budget constrainted. And yes, it will be wickedly easy/fast to change mounts on set.

You've pretty well described me... especially the "budget constrained" part. I'm looking at theAF-S NIKKOR 28-300mm f/3.5-5.6 ED VR as my first lens.

I just hope RED has O.K.ed this lens to work with their Nikon mount by the time the camera ships.

 

[Antoine Fabi]

I'm sticking with my Zeiss T2.1s for now, very compact and sharp.

Without a doubt! They look beautifull on the RED.

If they do not cover 5K, then, or i 'd stick 4K, or go good old Canon FD's (also look lovely on the RED) for 5K.

The real question is which mount will be available AT THE MOMENT the EPIC is available

THIS IS IMPORTANT.

Antoine

 

[Denis Buhot]

28-300.... Elsie...

28-300.... Elsie...

what field are you in ? Wildlife of some sort ? Just out of curiosity..

 

[Jeff Kieffer]

While waiting for Epic....
I'm getting my Canon K-35's converted to PL by True Lens Services.

 

[Nathan Garofalos]

RPP are awesome, used those quite a few times and have really enjoyed them, great contrast.

I also want the Schneider Cine-Xenar lenses...

 

[Paul Nordin]

At this point, my plan is to own two lens packages for Epic:

The new Cooke Panchros for reasonably well budgeted films.
Canon "L" glass for lower-budget and to take advantage of Red's evolving auto-focus/focus-iris-control program.

For well budgeted projects, if I need better light sensetivity than the Panchro's t2.8, I'll rent what makes sense.

 

[Elsie N]

what field are you in ? Wildlife of some sort ? Just out of curiosity..

Denis, for relaxation I shoot wildlife of any sort. Haven't done too much of that with the R-1 because I'm not mobile with it. That should change with the Epic, however and I can get back to doing more of that in my down time. The 28-300 should fill my needs within my budget for my personal use and for other.

Still my raison d'etre is to shoot a facsimile of one or more of some movie ideas I have. I want to make them watchable and professional looking with the hope of demoing them in a way that whomever I'm showing it (them) to will see the story(s) through my eyes and possibly pick it (them) up for a remake or, using my RAW footage, something releasable.

I always aim for universality.

 

[Steve Gibby]

I'll use all four new mounts - Red Electronic, PL, Nikon, and Canon.

The only PL mount lens I'll regularly use is my Canon FD 150-600 f5.6L zoom, which is stock except for having a Century PL mount conversion.

My DSLR system is Canon and I have a broad range of L series Canon lenses, so I'll definitely put them to good use on Epic.

I own around 22 Nikon lenses which I've been using on Red One. Some of them are new series, and some classic AIS. I'll definitely use them where appropriate on Epic.

I have high hopes for the new Red Electronic Lenses and the new electronic mount for them. If Red makes a great set of zooms for that mount I'll buy them and use them extensively on Epic.

So you can understand my lens choices above, keep in mind that I'm a producer/director/DP/cinematographer for television programs in the genres of action sports, wildlife, music, nature, travel, cultures, lifestyle, and documentaries of various kinds. My Red camera rigs are kept very lightweight for the mobility me and my crews usually need. Zooms are our lens of choice and need - we very rarely use primes.

With Red One we eye focus by the operator and all filters are screw-on (no matte box or follow focus used). We'll experiment with and probably use regularly the new auto features (focus, etc.) on Epic and Scarlet where appropriate. That's where electronic lenses that effectively "talk" with the camera are really critical.

I/we also shoot stills extensively for multiple clients and entities - thus Epic should be the ultimate "all in one" tool for us - motion and stills. As you might expect, we'll also be using several fixed lens Scarlet cameras in our work.

 

[Tom Lowe]

I'm sticking with my Zeiss T2.1s for now, very compact and sharp.

Are you talking about Zeiss Standards?

Considering the new, faster framerates with Epic X, I really want to move to something faster, so I won't be struggling for light as much at 96fps at sunset. Obviously MPs or equivalent would be ideal, but they are very expensive.

 

[John "Woody" Glaser]

I don't think the Epic is going to change what "glass" major Commercial/Feature/Episodic DP's are going to use.

 

[Curran Giddens]

I have high hopes for the new Red Electronic Lenses and the new electronic mount for them. If Red makes a great set of zooms for that mount I'll buy them and use them extensively on Epic.

Me too. If I am going FF35 Monstro then I will need some FF35 lenses to get the most out of it. Also, they should perform the best of any lenses with the new AF features in Epic.

 

[Evin Grant]

Are you talking about Zeiss Standards?

Considering the new, faster framerates with Epic X, I really want to move to something faster, so I won't be struggling for light as much at 96fps at sunset. Obviously MPs or equivalent would be ideal, but they are very expensive.

Yes standards, we've been shooting with 2.8 zooms on all the TV shows using the MX sensor so I see no problem with T2.1 primes. I'll also get the 24/35/50/85 f1.4 AFS Nikkor lenses for AF motor use.

 

[Sven Seynaeve]

For sports it would be very great if Red could design an electronic zoom with a hure range , and still be like 2.8 the whole range...something like the sigma, but even with heavier zoom factor.