Century via Schneider Optics Canon and Nikon Speciality PL Conversions

[Patrick Grossien]

Just stumbled over the Century / Schneider Optics conversions again and noticed, that they put a "works with RED" sticker on most of these.
So I thought I just share my findings for those who have never seen these fully rehoused speciality still lenses before.

...is this actually known that the Century rehoused lenses are done by Schneider Optics? Or am I missing something here?

EDIT: as Ken noted, since all these are FF35 they would cover 6K. Details below:

The S2000 lenses are all FF35 rehoused, all would cover 6k plus (except the fisheye). Even the early Tilt/Shift system that I designed should work with 6k, but testing the shorted focal lengths would be wise.

www.schneideroptics.com

Fisheye
8MM F2.8 Nikkor - PL Mount - $6,250.00 EA

Tilt
17MM T4 TILT Canon S2000 - PL Mount - $7,500.00 EA
24MM T4 TILT Canon S2000 - PL Mount - $5,900.00 EA
45MM T2.8 TILT Canon S2000 - PL Mount - $5,900.00 EA
90MM T2.8 TILT Canon S2000 - PL Mount - $5,900.00 EA

Zoom
17-35MM T3 compact zoom Canon S2000 - PL Mount - $15,000.00 EA
150-600MM T6.7 / F5.6 Canon S2000 - interchangeable lens mount? - $29,995.00 EA

Tele
200MM T2 MKII Canon S2000 - PL Mount? - $6,000.00 EA
300MM T2.8 MKII Canon S2000 - PL Mount? - $4,800.00 EA
300MM T3 MK2, FT Canon S2000 - PL Mount? - $13,500.00 EA
400MM T/2.8 Canon S2000 - PL Mount? - $5,900.00 EA

 

[Ken Robings]

As a former Century, then Schneider engineer, let me explain; Century Precision Optics was first sold to Tinsley (the guys that fixed the Hubbell Space telescope), then that company was bought by another large company, that sold Century to Schneider Optics. After a few years, Schneider dissolved Century (while I was there) and turned Century into a "line" of lens attachments. The S2000 lenses are all FF35 rehoused, all would cover 6k plus (except the fisheye). Even the early Tilt/Shift system that I designed should work with 6k, but testing the shorted focal lengths would be wise.
cheers, Ken Robings
digitaloptik.net

 

[Robert Hart]

Ken. Are you familiar with the Century rehoused Kinoptik 9.8mm. I bought one used from Boston rental. It has a PL-Mount. It does not quite make infinity focus on electronic cameras with a OLPF/IR in the optical path. If there are no shims that can be removed to bring the lens closer to the mount, is there any other internal fitment that can be adjusted to the same purpose?

 

[Patrick Grossien]

Ken, thank you very much for the insight and clarification! First hand information is always gold!

 

[Mario Contini]

you forgot the minolta 28-70 on this list! hard to find a compact mid-range zoom when your on a very tight budget! flew this lens on steadi for an entire feature, cut well with super speeds. quite a bit of fringing wide-open but went away 1/2 stop down. you just have to watch out for CF when you've got a frisky operator we were on an mx, but would have been nice to see it in 5k.

 

[Phil Holland]

This one's for Ken. I still occasionally use, although not on the head below, the old and fairly rare CPO 600mm f/4.5.

One of these days I'll grab that 400mm. Always wanted one.

 

[Patrick Grossien]

you forgot the minolta 28-70 on this list! hard to find a compact mid-range zoom when your on a very tight budget! flew this lens on steadi for an entire feature, cut well with super speeds. quite a bit of fringing wide-open but went away 1/2 stop down. you just have to watch out for CF when you've got a frisky operator we were on an mx, but would have been nice to see it in 5k.

It wasn't on their list... hence I didn't include it. Don't know if they still make it.

 

[Patrick Grossien]

This one's for Ken. I still occasionally use, although not on the head below, the old and fairly rare CPO 600mm f/4.5.

Phil, this is sick

 

[Patrick Grossien]

BTW Phil, whats the QR and the 15mm LW rod adapter on Skully in your picture?

 

[Phil Holland]

It wasn't on their list... hence I didn't include it. Don't know if they still make it.

Nope. They don't make it anymore. It was manufactured in the early 80s. There seems to be black and white ones. White designated for military use. I was told that there were probably not more than 25 in existence today when I asked Schneider and CPO folks for info. Apparently, the serials were written down on something called "paper" back then. The lens served a special use and it sits around a lot these days. I go 300mm and sometimes even use that with a doubler just because it's more compact.

BTW Phil, whats the QR and the 15mm LW rod adapter on Skully in your picture?

It's some Manfrotto QR receiver. The baseplate with the 15mm LWS support clamps is a Manfrotto baseplate that I drilled through to mount the clamp. This is basically a very light solution if it's ever needed. In fact, one of the lightest if you need to trim ounces off a rig. It was one of those things I made early on when I first grabbed the Scarlet. Don't really use it these days too much.

The Red LWS 15mm baseplate is also damn small and light, just a different receiver/base.

 

[Phil Holland]

I should also add here, and it's funny to me at least, that I'll likely be grabbing a set of the Cine-Xenar III primes after NAB if everything goes well with my investors. I want to see Schneider's new full frame cine primes before I make that decision. The Xenar III's kinda have blown my socks off. Not totally perfect. I'd prefer T1.8-T1.9 consistent across the set, but I understand that the pure telecentric design yields larger elements to get to that speed. So the lenses would have to be larger and heavier.

 

[Patrick Grossien]

Nope. They don't make it anymore. It was manufactured in the early 80s. There seems to be black and white ones. White designated for military use. I was told that there were probably not more than 25 in existence today when I asked Schneider and CPO folks for info. Apparently, the serials were written down on something called "paper" back then. The lens served a special use and it sits around a lot these days. I go 300mm and sometimes even use that with a doubler just because it's more compact.

Hmmmm paper? Intriguing Thanks for the info!
Though a white lens for military? If it ain't for winter usage white seems to be a weird choice

It's some Manfrotto QR receiver. The baseplate with the 15mm LWS support clamps is a Manfrotto baseplate that I drilled through to mount the clamp. This is basically a very light solution if it's ever needed. In fact, one of the lightest if you need to trim ounces off a rig. It was one of those things I made early on when I first grabbed the Scarlet. Don't really use it these days too much.

Clever usage of brain and drill in a non-pi relation. Sorry to be a pain, but what kind of clamp is that? I don't see any screws to tighten the rods.

The Red LWS 15mm baseplate is also damn small and light, just a different receiver/base.

Yeah, I'd love me to get my hands on that system. It's just a bit expensive because I'd need the RED QR system to go along to be able to mount it. Or am I missing something?

 

[Patrick Grossien]

I should also add here, and it's funny to me at least, that I'll likely be grabbing a set of the Cine-Xenar III primes after NAB if everything goes well with my investors. I want to see Schneider's new full frame cine primes before I make that decision. The Xenar III's kinda have blown my socks off. Not totally perfect. I'd prefer T1.8-T1.9 consistent across the set, but I understand that the pure telecentric design yields larger elements to get to that speed. So the lenses would have to be larger and heavier.

Ooooh man, let us know how this turns out.
The Xenar III's won't cover FF or do they? I don't think the FF Primes can match the Xenars but really keen on knowing how these hold up !

 

[Phil Holland]

Though a white lens for military? If it ain't for winter usage white seems to be a weird choice

Clever usage of brain and drill in a non-pi relation. Sorry to be a pain, but what kind of clamp is that? I don't see any screws to tighten the rods.

The Xenar III's won't cover FF or do they? I don't think the FF Primes can match the Xenars but really keen on knowing how these hold up !

Super Telephoto lenses are sometimes painted white to deal with the heat of direct sunlight when shooting outside for long durations. I've been told it can effect the optics within the tube on the lens.


Here's a shot of the baseplate. It's a 15mm clamp I had on my old Easom rig. But you can find similar things around from other peeps. I would recommend perhaps using the long plate if you were going to attempt this. I did this more for weight and to have something usable very quickly.

Xenar III's don't cover FF, but cover past Mysterium X. I think Duclos said around 32.5mm coverage at the widest. Couple things on my mind when I think about my future lens purchases. I already have a rather full set of lenses that cover FF35 that I've modded in one way or anther. These can be used on Dragon at 6K and produce decent results.

Personally, for myself, I need proper cinema glass at this point in my career. That means proper gear throws, mechanics, etc... 5K on Dragon will be pretty much S35 3-perf and all cinema primes will cover that. Great news for those who have invested $$$$$ in lenses I firmly believe for most standard production work or due to aesthetic choices Dragon 5K will be what most productions desire to use as their main capture format. It's basically what everybody has been asking for in reality. I think productions will find 6K to be particularly useful for high frequency detailed scenes and also the extra FOV that having the extra real estate on a lens when shooting wide. Which might also help some of the "lesser optics" out there produce slightly better images. I am very interested in shooting at 6K and I have lenses today that cover that. However, S35 as a format isn't going away and is incredibly useful for a large variety of work.

So basically that's why I'm interested in both Schneider's Xenar IIIIs and FF35 lenses. Hoping to see the FF glass at NAB.

My career has largely based on high resolution capture and 4K is pretty much the delivery standard that I'm working with for the time being. It's also going to be where much of our material ends up in the somewhat near future. Dragon 6K, 5K, and likely 4K (although not mathematically perfect) get me a nice 4K deliverable.

 

[Patrick Grossien]

Super Telephoto lenses are sometimes painted white to deal with the heat of direct sunlight when shooting outside for long durations. I've been told it can effect the optics within the tube on the lens.

Ok that finally explains the white in the Canon Ls to me, too It's always worth "talking" to you, Phil!

Here's a shot of the baseplate.

Damn! Feeling stupid now. I remember that picture from Skully's thread! Hehehe!

Xenar III's don't cover FF, but cover past Mysterium X. I think Duclos said around 32.5mm coverage at the widest. Couple things on my mind when I think about my future lens purchases. I already have a rather full set of lenses that cover FF35 that I've modded in one way or anther. These can be used on Dragon at 6K and produce decent results.

Personally, for myself, I need proper cinema glass at this point in my career. That means proper gear throws, mechanics, etc... 5K on Dragon will be pretty much S35 3-perf and all cinema primes will cover that. Great news for those who have invested $$$$$ in lenses I firmly believe for most standard production work or due to aesthetic choices Dragon 5K will be what most productions desire to use as their main capture format. It's basically what everybody has been asking for in reality. I think productions will find 6K to be particularly useful for high frequency detailed scenes and also the extra FOV that having the extra real estate on a lens when shooting wide. Which might also help some of the "lesser optics" out there produce slightly better images. I am very interested in shooting at 6K and I have lenses today that cover that. However, S35 as a format isn't going away and is incredibly useful for a large variety of work.

So basically that's why I'm interested in both Schneider's Xenar IIIIs and FF35 lenses. Hoping to see the FF glass at NAB.

My career has largely based on high resolution capture and 4K is pretty much the delivery standard that I'm working with for the time being. It's also going to be where much of our material ends up in the somewhat near future. Dragon 6K, 5K, and likely 4K (although not mathematically perfect) get me a nice 4K deliverable.

These are very valid points! It will be interesting to see what kind of results mixing 6K with 5 or 4K will give us, and which of the FF still lenses you can use to mix with your new Schneider Set.

 

[David (dudi) Namir]

Great lenses I love them all. Each is excellent for specific tasks.
We carry the T&S 24mm 45mm & 90mm
We also have the two lightweight zooms 17-35 & 28-70
http://www.dnkarentals.com/other_lenses/

 

[Ken Robings]

First Phil-wow..... A little history, Century was a favorite "range" camera telephoto lens, these are the lenses that NASA and the Air Force used to track rocket launches. Also they loved to buy government surplus optics and turn them into cinema lenses (usually telephoto). Many of the early surfing movies(Bruce Brown) that I grew watching were shot with Century zooms.
Robert, I think that lenses just needs to be serviced, if you have already taken the shims out. Make sure to send the shims with lens to someone like Focus Optics. If Century put a PL mount on it, it should hit infinity.
And be careful with that Minolta at 4k plus, not the sharpest lens in the box.

 

[Robert Hart]

Ken. Thanks for that info on the Century Kinoptik.

 

[Ken Robings]

Since we have been talking about coverage here, I would like to plug my digitaloptik 1.2x extender, that I will be introducing at NAB in a couple of weeks. I started this project to bring back zoom lenses like the Cooke 5 to 1 (20 to 100mm), that were designed for Academy 35 (28mm image circle), and increase the coverage to 6k. My test results have been very sharp, I will link to my new Dropbox photo gallery soon, but here are two shots, at 20mm, you can see the vignetting (and the barrel distortion), and with the extender in my Photo Gallery here on Reduser. These were shot at 5k with a Epic M

 

[Phil Holland]

Interesting. Where will we be able to see it at NAB Ken?