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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 :)

17-50mm RED Pro Zoom...

its on the truck for delivery. Can't wait to put it through its paces today. Screen grabs to follow.
 
Curran Giddens said:
I plan on getting two of these zooms once my Epics are ready to ship. I imagine these will be perfect for 3D.
Click to expand...

at 143mm minimum I would think the IOD would be way too big for anything under 12 feet distant. Better ask a true 3D guy.

dual Scarlett with mini primes would be better.
 
JD Holloway said:
at 143mm minimum I would think the IOD would be way too big for anything under 12 feet distant. Better ask a true 3D guy.

dual Scarlett with mini primes would be better.
Click to expand...

There is always the beamsplitter rigs....

Maybe it will fit the ET Quasar?


100111_ELEMENTTECHNICA_VT__061.jpg
 
That would work I would think.
 
Curran Giddens said:
I plan on getting two of these zooms once my Epics are ready to ship. I imagine these will be perfect for 3D.
Click to expand...

JD Holloway said:
at 143mm minimum I would think the IOD would be way too big for anything under 12 feet distant. Better ask a true 3D guy.

dual Scarlett with mini primes would be better.
Click to expand...

Curran Giddens said:
There is always the beamsplitter rigs....

Maybe it will fit the ET Quasar?
Click to expand...


The RPZ 17-50 as well as the RPZ 18-85 make for great Zooms on any S3D rig, ET's Quasar offers one of the best if not the best current S3D rig out there, with full electronic and remote controls, however when configuring a Parallax type S3D rig, yes both RPZ's as it has been the case with he ARRI/ZEISS MZ this the front diameter only allows for particular S3D shots were both parallax distance and Convergence give only a limited range of shots, but are amazing in any Image Splitter rig.

The RPZ 17-50 however even so still very wide, offers new possibilities do to its smaller size and weight, so I'm looking forward to the new ET Pulsar rig, the Neutron is just too small for anything other then the Scarlet 2/3 interchangeable, which I think we will get two of them just because what they can do, Epic-can not, when set up in a Parallax S3D rig.
 
Let me just say guys, after testing the lens...its more than fantastic. There is basically no need for an 85. Close focus is 4" or less at 50mm

I will post footage tonight if I get the chance
 
Ryan Hamblin said:
Let me just say guys, after testing the lens...its more than fantastic. There is basically no need for an 85. Close focus is 4" or less at 50mm

I will post footage tonight if I get the chance
Click to expand...

Please do! I can't believe we haven't seen anything yet. What I would love is a quick 30 second clip with a full zoom pull, and a focus pull at 50mm. Then maybe some flare action? :001_wub:

However, what makes 85mm and 100mm magic is their perspective, and compression.
 
Its scary how much you can get the 50 to look like an 85 up close I will try to go shoot more test tomorrow demonstrating this.
 
And if anyone was wondering or hoping 4x4 filters will not cover it on the wide end.
 
Ryan Hamblin said:
Its scary how much you can get the 50 to look like an 85 up close I will try to go shoot more test tomorrow demonstrating this.
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I think I'd be inclined to give an actor a little more room than a 50mm provides on a closeup.

I don't think any focal length is putting any other focal length out of business. They all have their own feel.
 
More than happy with it Brent...this lens is really in the ball park of lenses far exceeding its price... and in many instances beats them.

worth so much more than the price
 
Ryan Hamblin said:
More than happy with it Brent...this lens is really in the ball park of lenses far exceeding its price... and in many instances beats them.

worth so much more than the price
Click to expand...

I'm really curious about a couple of things...
obviously optical quality difference between it and its 18-50 predecessor, the amount of breathing during focus and probably most important to me for 3D purposes is the tracking during a zoom. In other words do the features in a shot track straight in while zooming or shift about. If it shifts, is it a straight line or curve.
Info on any of these would be most appreciated!
 
I received mine yesterday and have been putting it through some documentary shoots the last 2 days.

My only complaint is the dinner plate someone glued onto the front end of the lens :smile:

Haven't had the chance to really dig into the footage, but it's definitely comparable to the primes and will cut nicely together.

I can also confirm it works the full range on a MB20-II, I just took off the bellows plate and snugged it right up to the lens. Worked like a charm. No visible vignetting with 4x5.65 filters, even with a 3rd tray.
 
Does anyone have any thoughts on the performance of the 17-50 over the 18 -85 lens?
 
This has been partly discussed before but is there any possibility to mount a screw UV filter on such a lense ?

The point is using it for run-and-gun documentary style, so there's no way i can put a mattebox and other heavy stuff... But i'm little bit worried about having this expensive lense with no front protection :-(
 
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