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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 :)

Zeiss T2.1 PL Primes for sale

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SirGear

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that's what 4000 orders of Red cameras and no primes did.
PL lenses are gold today, try to buy a set of Zeiss Hi Sped and you will see
 
gdv said:
that's what 4000 orders of Red cameras and no primes did.
PL lenses are gold today, try to buy a set of Zeiss Hi Sped and you will see
Click to expand...

Yes, but what will they be worth 12 months from now?
 
I think super speeds t1.3 will always hold their value ..that is unless RED decides to make t1.3 super speed red primes. It will, however, be interesting to see how the value of the t2.1 standards hold up when red releases their T 1.9 prime set.
 
I think $25K for Standards or SS's is nuts. That is what I paid for a used set in 1995. IMHO, I think the Standards are better than the SS's anyway. Check out "Mr. Brooks", shot with the Standards.
 
The world of Red owners is divided into these groups:

1. Those who had a set of primes, bought before Red was first announced.

2. Those who rent glass.

3. Those who buy glass at current market price. They get to shoot anytime.

4. Those who bitch about the current market price for lenses; they can't shoot anything unless they go to #2.

5. Those who are waiting for the Red Set; they can't shoot anything either.

Good shooting and best regards,

Leo
 
It will depend on how fast the Red Primes can be delivered and what the filmmaking community in general thinks of them. I have no doubts they will be very high quality, modern cinema lenses, but I think that all the Existing Zeiss glass will hold good value because it will offer a different, more classic look. I'm going to buy the Red primes but keep my T2.1s too, they're just too pretty to sell.
 
I have no doubt that Nikon glass is capable of making very nice images, however I do have grave reservations about the limited distance between focus marks.

This deficiency could have serious consequences when pulling focus.

Of course the director can compensate by increasing the depth of field and/or restricting the blocking/camera movement, but this does violence to much of the advantages of shooting Red in the first place.

I'm not saying one can't make beautiful pictures with stills lenses, obviously you can, but isn't it better to take full advantage of the camera?

Good shooting!


Leo
 
Very true points, Leo.

Let me re-phrase that to

6. Those who use the Nikon adaptor to check that their Red is working, and will use Pentax Zeiss glass as soon as the Canon adaptor is out. Then, the money goes to the bank to buy some proper lenses.

(This is of course for documentary / small crew / small budget work. Any bigger projects will obviously only suffer from not using proper cine lenses.)
 
Let's hope the inflationary prices ends soon. The 2.1 Zeiss are good lenses. The basic problem with them is color matching. F2.1 doesn't mean you would shoot at 2.1. But you would 2.1 with a SS. Most of my night work is shot around 2.3-2.5 Personally, I would not choose 2.1's to shoot a feature film. Many years ago some of my DP friends used them but switched to SS or Primos. Technology has changed since these lenses were made. Lenses are more consistent from one to another. It's easier to put together a matched set. By the way, if someone is learning or wants to shoot their own project there is nothing wrong with still lenses. They are cheap and available. They are sharp. I can't imagine someone shooting complicated blocking with actors on still lenses. If that was the case the bottled water budget would be larger than the camera rental on a show with actors. But using Nikon or Canon lenses for second unit would be acceptable. I have a Steadicam friend who uses his Canon 200 F1.8 on features. These are big features. I recently compared my Contax Zeiss 17-35 to the Red 18-50 and I was surprised how beautiful the still lens was. I would definitely use the Contax lens to shoot scenics or second unit (just don't try and zoom because the image will jump). Once someone gets a larger paying project the cost of renting lenses is the least of the production's concerns. The people that hire you don't really care if you own a camera, they care about how you use it. My advice is to put anything on your camera and go shoot beautiful images.
 
Martin Weiss said:
Very true points, Leo.

Let me re-phrase that to

6. Those who use the Nikon adaptor to check that their Red is working, and will use Pentax Zeiss glass as soon as the Canon adaptor is out. Then, the money goes to the bank to buy some proper lenses.

(This is of course for documentary / small crew / small budget work. Any bigger projects will obviously only suffer from not using proper cine lenses.)
Click to expand...

Martin... are you referring to the Zeiss f. Pentax Planar T lenses? How do they differ from the Zeiss ZF Distagon T Lenses (Nikon mount)?

regards,
Billy
 
redsail said:
My advice is to put anything on your camera and go shoot beautiful images.
Click to expand...

Very wise words for sure...

Though I use a lot of high-end cine lenses and my RED lenses when projects determine they're the best choice, I've also been using my 20-year old Canon FD 150-600 f5.6L zoom with a Century PL mount conversion extensively on wildlife and sports projects - with stellar results. I sight focus the lens myself.

Practice make perfect in any craft - go out and work on your craft and shoot beautiful images. When you're not in the restrictive environment of an equipment-specific project, experiment with all kinds of glass on RED One.

Open minds push the limits of the craft...
 
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