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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Will you be using Canon L lenses on Epic?

Adam C Lubkin

Adam C Lubkin

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I'm wondering who will be going the Canon electronic still lens route on the Epic, and for those are, which lenses you expect to use.
 
YES.

8-15mm fisheye, 14mm 2.8 II, 16-35mm II, 24mm 1.4 II, 50mm 1.2, 70-200mm II.

But the one I'm looking forward to most on Epic X is the Canon EF 600mm f/4!!
 
I would love to permanently Canon-ize a SCARLET FF35, if I don't wind up with way too many cameras along the way. Lots of lenses.

The two I am most looking forward to are the legendary 200mm 1.8, best lens I've ever owned texturally speaking, and a Sigma 300-800mm zoom, if the system can read the aperture settings...
 
I won't be using the Canon lenses, but expect delivery sometime tomorrow of a Nikon AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR lens . Next I will purchase an AF-S Zoom-NIKKOR 17-35mm f/2.8D IF-ED.

Would love to use RED lenses but this is the compromise I must make to man up.

Edit: Looking at substituting the
AF-S Nikkor 16-35mm f/4G ED VR Wide Angle Zoom Lens for the previously mentioned 17-35mm. Not as fast but supposedly a very sharp lens by all the reviews I've read.
 
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Proof in the Pudding

Proof in the Pudding

As a low cost PLmount/Preston alternative the Canon lenses are an exciting prospect. What I will need to see is how smooth and finely can the internal motors on these lenses change focus and will the Redmote be a practical focus controller that my AC wont throw at me.

I cant imagine not using PL Cine glass on my Epic but as a low cost effective alternative for the budget challenged shoots.

I have a dream that Canon will sell a new line of lenses that are modified for Cine use as this would be a match made in heaven for Epic and Canon HDSLR shooters
 
Tom Gleeson said:
What I will need to see is how smooth and finely can the internal motors on these lenses change focus and will the Redmote be a practical focus controller that my AC wont throw at me.
Click to expand...

I'm really curious about this as well. Guess we'll have to wait and see.

Also, as someone who often shoots hand-held, I'm wondering if footage shot with IS on looks okay when projected on a big screen. My dslr IS footage looks fine on a 42" monitor, but I haven't had a chance to see it really big.
 
Any thoughts on the 24-105 f4? I'm trying to find a good zoom for fast-moving documentary situations where I need to cover from semi-wide to portrait. I wish it went slightly wider, and f4 isn't always fast enough, but maybe it'll do... The 24-70 might be a better choice but a physically smaller lens would be preferable. On apc-c I use the 17-55mm 2.8, but it seems there's nothing in that range for the s35s. Anybody else struggling with this?
 
I really don't like the rendering of the CANON lenses. They are too soft and warm for my taste. It always looks a bit muddy IMO. I love zeiss ZF lenses. As it's easier to soften an image then sharpen it and the colors are more what I like, for me they are the best low Cost sollution at the Moment.
 
As Jarred pointed out the other day, the main problem with still lenses right now is still breathing... a tough problem to get around.

Adam, I've heard that the 24-105 is soft on the long end. 24-70 would probably be better, and it matches well with the 70-200 in terms of covering focal lengths.
 
Adam C Lubkin said:
Thanks Tom. What are you going to be shooting with that 600mm?
Click to expand...

Probably people and wildlife mostly. I can't even imagine how incredible that 600mm stuff is going to look at 5K RAW. Just fooling around with the 600mm f/4 on a 7D in video mode, the depth of field and bokeh are so beautiful, it makes just about any shot look incredible.
 
Yes, owning a few more Canons hopefully, as well as other Canon mount lenses like the 11-16 Tokina. ZFs maybe... Renting cine lenses as needed. I don't really need gear though, and that is why this is such a great option to have.

Wonder if future L series lenses will be built to breathe less?
 
Not Canon, but Nikon G in addition to my PL mount glass. Specifically the 14-24/24-70/70-200 F2.8 combo. Also the new 24/35/50/85 1.4 glass looks very impressive, and a couple generations ahead of the Canon fast primes.
 
Evin, in your tests have you compared the Canon L line against current Nikons for cinema use? Also, is the Nikon mount more stable than the EOS? Although I have a Canon camera and glass currently, it's a modest kit and I can start from scratch with Epic if there's a compelling reason to go one way or another.
 
Evin Grant said:
Not Canon, but Nikon G in addition to my PL mount glass. Specifically the 14-24/24-70/70-200 F2.8 combo. Also the new 24/35/50/85 1.4 glass looks very impressive, and a couple generations ahead of the Canon fast primes.
Click to expand...

Glad to see someone else mention a 24-70mm. With a 5k sensor I think it will be a much more usable range. Anyone know an approximation of the S35 equivalent FOV 24mm will provide? Somewhere around 18-21mm?
 
Kim Frank said:
I really don't like the rendering of the CANON lenses. They are too soft and warm for my taste. It always looks a bit muddy IMO. I love zeiss ZF lenses. As it's easier to soften an image then sharpen it and the colors are more what I like, for me they are the best low Cost sollution at the Moment.
Click to expand...

Agreed.

canon can go to hell.
 
I'll be shooting a lot of Nikon glass on my Epics. In addition to PL. I'll buy one Canon mount as I do have Canon glass as well, but I prefer my Nikon glass. I'll be using the 14-24, 17-35, 24-70 and 70-200. In addition, various assorted Nikkor primes; 14mm, 24mm, 35, 50, 85, 105mm macro, etc.. Also the fantastic Tokina 11-16 that I own in both Nikon and the Duclos PL conversion. I can't wait to shoot Epic with the Canon 17mm tilt-shift. I'd buy the Canon mount just to use that lens.

@ Roberto,

A 24mm focal length on 5K should give you a 59.9 degree AOV. Full aperture S35 (24.89mm wide) would be a 54.8 degree AOV. For 4K, the AOV would be about 49.5 degrees. Going the other direction, FF35 would have a 73.7 degree AOV with a 24mm focal length.

A 24-70 zoom when shooting 5K would be equivalent to:

21.6 - 63mm on S35
19.2 - 56mm on 4K
31.2 - 91.15mm on FF35
 
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