Lens that will cover the 4.5K, 2.40:1 aspect ratio ?

[Etienne Caron]

Whitch are the lens that will (or will not) cover the next 4.5K, 2.40:1 aspect ratio ?

Someone post that the Leica-R lens will... any non-DX photographic lens and cine lens will cover the new aspect ratio for 4.5K, 2.40:1 ?

thanks

 

[David Mullen ASC]

Most modern cine lenses cover the Super-35 frame, which is the same size of the 4.5K area of the Mysterium sensor. Current 4K recording on the RED at 4096 pixels across is basically the same width as the old Academy format, so there should be no problem using the whole 4.5K area with modern lenses. You do lose the nice feature of having a lookaround area in the viewfinder outside the recorded 4K area.

 

[Simon Valderrama]

Most modern cine lenses cover the Super-35 frame, which is the same size of the 4.5K area of the Mysterium sensor. Current 4K recording on the RED at 4096 pixels across is basically the same width as the old Academy format, so there should be no problem using the whole 4.5K area with modern lenses. You do lose the nice feature of having a lookaround area in the viewfinder outside the recorded 4K area.

thanks david.
Can you specify better what do you mean by "modern"?
I guess my Zeiss B-Speeds/Mark I (dunno if it's a correct description) are quite old, any chance of being modern anyway? inch:

 

[David Mullen ASC]

You have to test older 35mm cine lenses to see if they cover the Super-35. Most do, though it's borderline with some of the wider-angle ones and some zooms. For example, we shot the HBO series "Big Love" on the old 20-100mm Cooke zooms and it covered Super-35, but barely, and there were some portholing (fall-off) artifacts, though, but no vignetting.

 

[Andrew M.]

Most modern cine lenses cover the Super-35 frame, which is the same size of the 4.5K area of the Mysterium sensor. Current 4K recording on the RED at 4096 pixels across is basically the same width as the old Academy format, so there should be no problem using the whole 4.5K area with modern lenses. You do lose the nice feature of having a lookaround area in the viewfinder outside the recorded 4K area.

The look around for hanging mike will be still there, but if you pan in to some sticking out hand you have to retake.

 

[Etienne Caron]

Thanks David,

Great tips as usual...

Etienne

 

[Daniel Browning]

For example, we shot the HBO series "Big Love" on the old 20-100mm Cooke zooms and it covered Super-35, but barely, and there were some portholing (fall-off) artifacts, though, but no vignetting.

I apologize in advance for the off-topic question, but what's the difference between portholing (fall-off) and vignetting? Is it that the former effects only the outer portion of the image (consistent brightness in the center and middle thirds, tapering off to darker edges), whereas the latter affects both (brighter center, normal middle thirds, tapering off to darker edges)?

 

[David Mullen ASC]

Practically speaking, the difference is just a matter of degree, portholing / fall-off is a soft darkening around the sides, vignetting tends to be a sharper darkening edge. But I think technically, with vignetting you are seeing the edge of the projected circular image of the lens not completely going outside the rectangular frame borders. Portholing and fall-off is a slightly different artifact though probably related (not being a lens person.)

 

[Simon Valderrama]

Thanks David,
i'll test my older Zeiss primes when finally i'll have my RED (guess 4.5K will be available by then :innocent: )!