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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 :)

First RES CHART for the 24-70mm MARK II from CANON!!!

G

Guillaume Tremblay

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Hello guys,

I pre-order my Canon 24-70mm f2.8 II few days ago and today I saw this resolution chart on this new zoom. I thought it would be good for you to see. What I'm seeing is that all the new Canon lenses or zoom seems to have a huge improvement on quality since the 70-200mm f2.8 MARK II came out!!!

It's good news for people who are short in money like myself! :)

http://www.lensrentals.com/blog/2012/09/canon-24-70-f2-8-ii-resolution-tests

Please comment! With Samyang Cine lenses and these new zoom from Canon, I very positive and I wouldn't be surprise to see independent film being shot with it. I just moved to The Big Island of Hawaii and we're getting ready for a feature film, I think I'll use these lenses!!!
 
The resolution figures look very good and if this lens is as good as the 70-200mm MK2 then it will be a bargain at the price point. The big disdavantage is the telescoping barrel making it not a matte box friendly lens. Will love to see the flare characteristics of the new 24-70mm MK2 as this was one of the weakest points in the original.
 
This 24-70 II chart looks very good...

The 70-200 II is quite good, so this new 24-70 II should pair up with it really well. Now Canon needs to do a 16-35 II (edit: 16-35 III or better yet 14-28 2.8)

Over all these years with all my Nikon lenses (22 in total) on Red One, and Canon lenses (14 in total) on Epic, me and my crews have always used good quality screw on filters to retain rig lightness and thus mobility of the rig. Thus the telescoping front end is no problem at all. We also eye focus by the operator, thus no AC or follow focus on the rig. Non-cine shooters with Red cameras, in essence hybrid and EFP shooters, are quite used to the type of camera setup I just described.

The beauty of a DSMC camera like Epic is that it can be setup and accessorized for use in a number of motion and still media form factors. "Form follows function"...
 
John,

I typed one too few "I" on the end of that...I meant to type three of them...16-35 III. Better yet, how about a new FF 35 14-28 f2.8. Canon needs a wider FF35 f2.8 zoom to compete with the excellent Nikon 14-24 2.8 (love that lens on Red One).

The 16-35 II was announced by Canon in February 2007 and some started shipping later that year. Lots of improvements over the original 16-35.

I look forward to each new version of L series lenses...especially zooms, because the very mobile motion genres I work in (adventure travel, wildlife, documentaries, music, etc.) usually call for zooms, with an occasional prime.

Also, I'm really looking forward to testing out the Red Nikon mount with my kit of Nikon lenses!
 
Mike P. said:
Parfocal or varifocal?
Click to expand...

Good question...

The Canon 17-40 f4, 16-36 f2.8, and 70-200 f2.8 (non IS) are parfocal. Hopefully this new Canon 24-70 f2.8 II will be parfocal - its Nikon counterpart, the 24-70 f2.8 AF-S, is parfocal
 
Patrick O'Sullivan said:
I've got 3 on pre-order from B&H. Taking the Toia approach. If this thing is anywhere near the 70-200 II in terms of performance then this thing is a no brainer.

So far all the reviews look good.
Click to expand...

Definitely...the performance of 35mm still lenses can vary within each individual lens of a particular model. You may buy one and its performance may be sub-standard. You take that back and get another, and the next may perform much better. There are "lemon" lenses. If you get a "lemon", trade it back in and get another. Repeat the process if necessary until you get one you like. Since you're buying three, odds are you'll easily have a great lens in the batch - maybe even three of them!

Lately with Canon and Nikon I've gotten a good lens on the first try, so perhaps standardization and quality control have improved.
 
I ordered on 2/22/2012 - and it shipped today from b&H Photo.

Only a single unit, so ... I'll have to keep my fingers crossed on the quality.

What tests can I run to make an objective determination of whether I have a non-lemon lens?
 
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