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]

unworthy lenses

unworthy lenses

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.

 

[Nick Morrison]

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.

I agree. I think limiting still lenses to primes helps. And the staying between Zeiss and Leica ups your chances even more, on top of the fact that these two lines are manual focus, and have many other cinema friendly mechanics.

And even then, you've only given yourself a fighting chance, as they aren't perfect. But often good enough....for small jobs.

 

[Evin Grant]

That's what we're endeavoring to find out. Image shift is also a big deal with still lenses.

 

[D Fuller]

That's what we're endeavoring to find out. Image shift is also a big deal with still lenses.

Yes it is.

 

[Nick Morrison]

That's what we're endeavoring to find out. Image shift is also a big deal with still lenses.

How does image shift differ from breathing? Forgive my ignorance.

 

[Justin McAleece]

Image shift can be found on some still lenses, usually in the way of the whole image actually moving left to right or right to left. It's different than breathing because it's not magnifying just sliding back or forth a little. It can be much more distracting than breathing and it can definitely be a deal breaker for some otherwise useful still lenses.

 

[Evin Grant]

As justin says, image shift, when you see it on a 40' screen it takes you right out of the story. To some extent breathing can be worked around or even hidden in a move, the well regarded Angenieux 25-250 T3.5 HR breathes worse than most still lenses but is still used frequently on big budget shows. the good news it that image shift is most common on cheaper, non internal focus still lenses, but it can be a problem on any lens that is not maintained or serviced when needed. Even my Optimos show a tiny bit but it's not noticable unless you're punched in to 100% and focused on a chart.

 

[Vance Colvig]

Curious how the Nikon 24mm f1.4G, 35mm f1.4G, 50mm f1.4G and 85mm f 1.4G lenses stack up. If you want to put them in the mix, I have a set. In L.A. Let me know if you are interested in including them.

 

[Evin Grant]

Thabks Vance, I own those myself.

 

[Evin Grant]

Shoot is this Fri, still looking for the Canon version 2 lenses 16-35, 70-200, 24mm.

 

[Gary Jones]

I am really looking forward to the results of this Evin, thanks for doing it.

I am not sure if I am alone in this, but I am almost as curious to find out how the lenses are to work with as I am worried about their image quality. I was wondering whether you plan on recording the focus throw of the various lenses (and where that focus throw lies, not much point having 180degree rotation if the first 170degrees is from close focus to 2 feet).