FF35 confusion

[Tim Hole]

FF35 is still slightly confusing me. I understand the pro's in having a FF35 sensor, however the way film is set up for PL at the moment doesn't lend a hand to FF. The only lenses available would be still lenses, apart from RED's own. Although I'm sure with cropping and an adapter PL mount would work but that defeats the object. I know a lot of DP's get very precious over certain glass they like to use for certain things and taking that away have its negative elements as well as it positive.

I'm not quite grabbing onto the benefit for FF over S35 really.

Can anyone enlighten me?

 

[Brian Langeman]

You already named the big benefit. All still lenses can fill the full frame. These are marketed as being still cameras too remember? So if working on a movie, a lot of people will probably be using the PL mount and cropping the sensor. Then if you want to use it for stills, swap out the mount for the Canon, Nikon, or Red mount, and you've got a full frame stills camera.

 

[Peter McCully]

FF35 will allow for a generous look-around area for PL glass depending on how its configured. Also, the full height 4 perf and more will mean anamorphic glass can be utilised to full advantage. Special purpose, special venue filming needing fish-eye images with the full circle,...etc. There are so many good reasons you'd be silly not to.

 

[Paul Stec]

If you buy a Red for film making then the S35 is the one you want even if you intend to use Still lenses. (understanding that a 50mm still lens will be a bit "longer"then a 50mm PL lens) But if you truly intend to use you Red as a convergence device for both Cinema and and Still go for the FF35 especialy if what alot of us are asking for in the S35 brain to be redesigned to shoot S35 at 2.5/3K due to the fact that the still res would be lower that whats out there in other FF DSLR's (21mp)

 

[Tim Hole]

I can obviously see it from a still POV and there are good points made, aren't cine lenses slightly different to still lenses though? More in the build...ie precision in adjustments esp. on zooms and built with Follow-Focus in mind. Most digi primes are nicely expensive but are they still much more than still digi primes? Is this because of large format projection, so clarity and sharpness are to the highest quality. Like I said on Scarlet User is it like the 645 and its a 'build it and they will come' philosophy and opening the market to something...once the market has caught up It could become a 'norm' to be FF35.

I'm guessing also it would all help with effects work and more DR is never a shrugging matter.

NICE!!

(Seemed like I was having a conversation with myself...I write like I talk...generally to myself)

 

[Brent J. Craig]

FF35 will allow for a generous look-around area for PL glass depending on how its configured.

That is an excellent point! The fact that most PL glass won't cover FF35 doesn't matter when the extra sensor area is just used for look-around. As long as the area you are recording does not vignette, you're fine.

I say the more look-around the better, especially for fast action or sports. Being able to know when something is coming into frame is great for focus pullers as well.

I think FF35 will be the obvious choice for most people.

 

[Tim Hole]

I think FF35 will be the obvious choice for most people.

Personally I'm looking at camera budget on my feature. Outside of RED I would have been looking at close to that for camera rental anyway. I weighing the pros and cons of buying an S35 for it or an FF35. I won't be shooting for another 18months so it will be perfect timing for the products to be released and to have shot some other stuff to get to know the beast intimately etc...in the mean time I will have bought a 2/3" interchangeable for personal use with all the accessories, so really its just the brain and glass for the feature. I am used to hiring glass and happy to do so for good quality glass is obviously essential. Having said this again...the price of RED lenses vs hiring glass...probably cheaper to buy a set of RED lenses.

 

[Charles Angus]

If you buy a Red for film making then the S35 is the one you want even if you intend to use Still lenses. (understanding that a 50mm still lens will be a bit "longer"then a 50mm PL lens)

As stated many times, 50mm is 50mm. A stills 50 will look the same as a PL 50 on S35.

On FF35, the stills 50 will fill the frame with image, whereas the PL 50 will be an image floating in a black circle. The image will be the same as the image from the stills lens, just cut off before the edge of the frame. No difference in FOV or magnification.



With regards to the OP, I would also say it may be a "build it, and they will come" scenario. I can see a demand for cine-tized 16-35's and so on that cover full frame. It's really just the mechanics of stills lenses that's inappropriate for cine use.