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Scarlet-X: Recommended Canon EF lenses

Kamal Kyrala

Kamal Kyrala

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So, the Scarlet-X package is quite a bit more than I had anticipated, but it's also a vastly superior Scarlet. But no lens included :/

Can anyone recommend a few inexpensive lenses that are compatible with the Canon EF mount that would be considered essentials?
 
Tokina 11-16mm
Canon 17-35mm
Canon 24-70mm
Canon 70-200mm

The minimum quality/cost I would hang on a RED
 
These must have come in while I was writing this long post! The Tokina is made for the APS-C but it means that your true focal length is about a ~18-26

Here's some lenses I've used and/or heard great things about:

Canon 70-200 4 EF IS Long lenses need image stabilization for video work. I use it a lot and is always in my bag. $1200 new $700 used. The 2.8 is heavier and more expensive but if you can afford it you will never regret buying it.
Canon 24 1.4 EF Highest priced but incredibly worth it. $1600
Canon 50 1.4 EF great lens, the 'nifty fifty' $400
Canon 100 2.8 EF IS MACRO $1000

Also, it doesn't have to be a canon. If your range is considerably less, take a look at Tamron, Sigma or Tokina, you can get any of them with EF mounts (meaning its not an add on adapter you have to screw on each time; it is built into the lens to mount which ever camera you have). Heard good things about them and have similar ranges as the Canon but more then half the price.

Sigma 70-200 2.8 is a great alternative to the extremely expensive Canon 70-200 2.8.
Tamron 90 2.8 MACRO great alternative to Canon 100 2.8
Tamron 17-50 2.8

Hope it helps.

Sebastien
 
Last edited:
Sebastien I Scandiuzzi said:
These must have come in while I was writing this long post! The Tokina is made for the APS-C but it means that your true focal length is about a ~18-26
Click to expand...

I think you misunderstood the problem. It's not clear that the scarlet sensor (which IS bigger than APS-C) will use the APS-C lenses without vignetting.

However, I'm fairly certain the tokina also comes in a nikon mount, which is a little larger sensor, so the lens "may" be able to project the correct image onto the sensor. Or you may end up recording a movie with a black circle around it. Presumably if you shoot 3K then you will be ok, but your image will be zoomed much more (I don't know the multiplier offhand)
 
Well,
24-105 could be fun !
24-70 2.8 too
24mm 1.4 50mm1.2 and 85mm 1.2 wonderful !
100mm macro, either L and non L !
ts17mm mmmh !
why not a 17-35 2.8?
You have the choice !
 
Actual Canon full frame lenses worth looking at.

Primes:

-14mm f/2.8L
-24mm f/1.4L
-28mm f/1.8
-35mm f/1.4L
-50mm f/1.4
-50mm f/1.2L
-85mm f/1.8
-85mm f/1.2L
-100mm f/2
-100mm f/2.8 Macro (L or non L version)
-135mm f/2L
-200mm f/2.8
-200mm f/2L IS
-any primes longer than 200mm are optically excellent

Zooms:

-16-35mm f/2.8L
-17-40mm f/4L
-24-70mm f/2.8L
-24-105 f/4L IS
-70-200mm f/4L IS
-70-200mm f/2.8L IS

Beyond that I have a good copy of the 20mm f/2.8, but most people I know who also have it aren't in love.
 
I think that the 24-70mm f/2.8L and 70-200mm f/2.8L II IS lenses are a great place to start. You a lot of different focal lengths covered and pretty shallow depth of field (similar to an f/2.8-f/4 split on a 5D from what I understand?). The only downside is that for manual focus there are better brands than the Canon lenses for the most part. I hope that Canon's new purpose-built cinema lenses for EF mounts turn out to be a good choice. Those primes look nice. The Zeiss CP.2 primes are good too. They have interchangeable mounts for both Canon EF and PL mounts on your camera so you could use them regardless of which mount you go with. Given the level of quality and that added flexibility they aren't a bad price, but if you're trying to save money you can obviously do better in that regard.

Some of Canon's non-L primes might be worth a look too. That f/1.4 "nifty" 50mm lens is one of the best values out there when it comes to glass.
 
Tonight at the C300 party, Canon also announced cinema lenses with EF mount. They were talking about three EF prime lenses: 24mm, 50mm, and 85mm.

Would these be any good on a Scarlet?

(sounds very efficient: tThis way you don't have to purchase a PL mount)

regards,
Erwin
 
Canon regular EF lenses are usually no good because of their short focal length rings that are designed to use with autofocus DSLRs, which means that there there is only a nudge of a turn before you hit infinity focus. Usually, infinity comes right after the 3m mark. That is unacceptable for any serious production where there is camera movement, shallow DOF, etc.

On the other hand, the newly announced Canon EF Cinema lenses that were meant to go on the EOS C300 (which clearly has been totally blown out of the water by the Scarlett-X) could work nicely.

I'm thinking of "buy the camera, rent the lenses".
 
Sebastien I Scandiuzzi said:
These must have come in while I was writing this long post! The Tokina is made for the APS-C but it means that your true focal length is about a ~18-26
Click to expand...

I believe the Tokina 11-16mm APC has a crop factor of 1.1 on Epic/Scarlet (making it an effective 13-18mm) AT FULL FRAME/REZ. Once you punch in on rez the crop factor is gone. The Tokina is the best fitting super wide angle zoom for a S35 chip - and it's a constant F2.8 which is mo bettah than Canon's 10-22mm F3.5-4.5. AbleCine FOV is always handy:

http://www.abelcine.com/fov/

Load in Epic on the left and Canon 7D on the right to see the crop factor. All the Canon L lenses (FF35) are 1.4 crop factor, again at full rez. The RED zooms in on the chip to rez down eliminating any vignetting you might have at full wide / full rez. So if you have vignetting at 5K just rez down to 4K - or just crop in post scene by scene. Sometimes a little vignetting is not a bad thing or noticeable.

nite nite boyz
 
If you use APS-C lenses could you merely use the lower resolutions on the camera like 2K instead of full 4k? There were some issues of sharpness on the RED one when you shot slo-motion and used a smaller portion of the sensor no?
 
I would look at the Tokina 11-16 (at 4K I don't think it will vignette).

I would look seriously at putting a Nikon 14-24 on the list, even if you have to use a Nikon G>EOS adapter.

The 16-35 is a real workhorse. Primes like the Canon 24 1.4, 35 1.4, 50 1.2 and 80 1.2 should be considered.

The new 70-200 2.8 IS II is a no-brainer... a MUST HAVE!
 
Rule of thumb: if it is an APS-C lens Canon lens, it will work with Scarlet because APS-C is just about the same size as S35. You may get some barreling or vignettes at the wide end, but you'll cover the vast majority of the sensor. You only run into problems when using this glass on a full frame sensor like on a 5D

+1 for Tamron 17-50 2.8 and the new Sigma 70-200 2.8 OS lenses for those looking at off brand glass. The new Sigma has been compared to the older f/4 Canon 70-200 (which I haven't used) and is a cracker of a lens!
 
don't forget to check out the duclos cine-mods: http://www.ducloslenses.com/Duclos_Lenses/zf.html

if you're on the cheap i would recommend either a couple decent primes, even if they're not L-series - maybe 24 and 50mm. Or, a decent zoom like the 24-105 or 24-70 & 70-200. i would definitely get the image stabilization, and decide on which ones based on what you shoot. you can always punch in if you're mostly finishing below 2k right now, then push towards the telephoto range later. and you can rent glass on a per-project basis while you build up.

if you're really really on the cheap, i do like some of the midrange glass like the 28-135, the 28 1.8, 50 1.4, 85 1.8, 100 2.0... i also have enjoyed the 10-22, though the tokina 11-16 might be better. both should be totally fine at 4k.
 
Josh Beadle said:
Tokina 11-16mm
Canon 17-35mm
Canon 24-70mm
Canon 70-200mm

The minimum quality/cost I would hang on a RED
Click to expand...

We use all of these lenses and are first rate. The Tokina is rehoused by Duclos, the glass is excelent. We also users of the ultrapime 8R and the Duclos lens is prefered to that lens for versatility.
 
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