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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 :)

25-250 Angenieux Night Test

Your a bad boy Stephen.

You could have at least given it a proper burial. Something like a head on crash shot with a steam engine or mayby a bungee jump into some large rocks. Something like that. lol
 
markp said:
Do you have any notes on the shots here? e.g. how many stops underexposed is the skintone on the last shot?
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I believe we were 2-3 stops under. The talent is about 5'9 and the double kino bank was at the ground, angled up towards her. Hopefully Tony can chime in about this.

earthling said:
The 1k looks great, I'd love to see the 4k. I bought the same lens, but am waiting for Jorge Diaz-Amador at Cinematechnic in Miami to convert it to PL. Was yours already in PL ?
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I'll post some of the tiff's up here later today. All the tiff's were unaltered and just exported through redalert. Let me know which shots you'd like and I'll load them up.
I believe the lens came with the PL mount. Tony will have to chime in about that.

earthling said:
The christmas lights look great. I take it your were wide open as the shape is nearly round although you can see it's three sided. I wonder what the bokeh looks like if you're stopped down.
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I thought we were at a 5.6 on those shots, but I can't remember if I opened up for it. At first we were strictly using our meters... then we ended up being able to decently judge it off the LCD.

earthling said:
A couple more questions : did you use some kind of support with the lens ? And any chance you could post a picture of the camera with the lens on it please.
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No support. The mount feels pretty solid, but support would be better. I'll see if I can snap a pic later today.

Hawaj said:
Nice!
I like that distortion on xmas tree lights, it dont need to be perfect :biggrin:
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Yeah, it has a look. I think, like someone else stated, it can serve a bunch of applications. But I can just imagine the comments coming back from the client's video village. "Why does that dot look like an egg?"

Rudi Herbert said:
Any color correction done to the clip at all?
Those are the best $700 worth of footage I've seem so far from RED, organic, fluid and engaging, centering your attention on the subject and rendering the edges pleasantly and conveniently soft and unfocused, just as human vision works. Where can I buy one of those babies?
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I did some small corrections in FCP. Crushed the blacks a little, raised the highlights and added some saturation. Not too much else.
I think Tony got the lens on Ebay.
 
My 25-250

My 25-250

Ah, the good ol' fashioned 25-250. Here's mine on my Arri 2c. Soon, it will be working on my new RED... unless I decide to use the EOS option.
 
Joe Taylor said:
Ah, the good ol' fashioned 25-250. Here's mine on my Arri 2c. Soon, it will be working on my new RED... unless I decide to use the EOS option.
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Nice clean 2C package you got there. Even if you convert the lens to PL mount insted of using a S/B to PL adapter you will want to use that lens support unit. But then again I'm sure you already know that. lol

What kind of telescope have you got Joe?
 
Here is the King of all 25-250mm lenses and it's about Rank Optics Taylor-Hobson Cooke Cine Varotal T4
even if Stephen is trying all the time to degrade this lens preformance without ANY own scientific test!!! :clown2:

cooke25-250mm.jpg
 
chuck colburn said:
Nice clean 2C package you got there. Even if you convert the lens to PL mount insted of using a S/B to PL adapter you will want to use that lens support unit. But then again I'm sure you already know that. lol

What kind of telescope have you got Joe?
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For my film "Dead Lonesome" I mounted my Arri 2c to a home built mount that is big enough to have it's own trailer.

I recently bought a Meade ETX 125 that you can piggyback SLR2 and possible a stripped down RED with a light prime.

The online version of Dead Lonesome looks terrible because of the heavy compression. On DVD it looks really good. I wish I could go back and shoot he whole thing again with a RED.

Don't mean to hi-jack this thread. Sorry
 
Anyone have any comparisons of the 25-250 vs 20-120 versions of the angenieux? breathing, sharpness and distortion..etc
 
CJ Roy said:
Hey all-

I love this camera. Thank you Jim, and the rest of the Red team.

DP Anthony Kwan & I shot this in my backyard to just test some night exteriors. We shot @ 500ASA with the Angenieux 25-250 f3.9 (pre-HR/HP). As Jim referred to it on Red Day, it's an antique.

There's some vignetting on the wide end of the lens, and some distortion going on everywhere else. You can see some of it with the out of focus xmas tree lights, where on the sides of the frame it looks like a 3 bladed iris. It's a $700 lens and acts like it.

http://www.cjroy.net/images/video/red/extnightBM2k_1k.mov

Mirror #1: http://www.bealecorner.org/red/ (Thanks Jbeale)

Mirror #2: http://www.hd4.tv/red/mirror.html (Thanks Claus)

Mirrors REALLY appreciated. My server's getting nailed.

Thanks.

-CJ
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The reason the camera is so great! I don't care a snit about the glass "resolution" that has never been an issue in my mind, it's the cheap "digital" low dynamic range of "video" that is sooo horrid! THANK YOU RED!

now when can I get my #610?

who want's to cut me a killer deal on a week long rental? I will even give you mine for 2 days for every one day I use yours....
 
I am curious, too.

PS I have a feeling that old lenses would do quite fine on RED. I know Stephen and some others say that the old lenses are quite bad - but they know how they would perform on film, not RED. RED is so unbelievably sharp - too sharp for many people's taste. They would use some kind of diffusion anyway, on camera or on post.

If you use older lenses, it seems you can achieve a nice, organic look.
 
eastco said:
I am curious, too.

PS I have a feeling that old lenses would do quite fine on RED. I know Stephen and some others say that the old lenses are quite bad - but they know how they would perform on film, not RED. RED is so unbelievably sharp - too sharp for many people's taste. They would use some kind of diffusion anyway, on camera or on post.

If you use older lenses, it seems you can achieve a nice, organic look.
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this was the exact reasoning I bought my old canon k35s for Red...now looking at cooke zooms....
 
CJ Roy said:
DP Anthony Kwan & I shot this in my backyard to just test some night exteriors. We shot @ 500ASA with the Angenieux 25-250 f3.9 (pre-HR/HP). As Jim referred to it on Red Day, it's an antique.
Click to expand...

may i ask one?
probably this lens mount is Arri's. what is PL-converter?
I found it and I have Angeneux zoom too

best regard
 
pensound said:
may i ask one?
probably this lens mount is Arri's. what is PL-converter?
I found it and I have Angeneux zoom too

best regard
Click to expand...

There's no adapter on the lens, the PL mount is attached. It must have been converted at some point. Not sure though.

-CJ
 
CJ what about trying a candle-lit scene with only candles? Maybe five or six candles on the table in front of a subject? 1000ASA?
 
Does anyone know where to get an arri mount adapted to a PL mount? Is there any adapters to purchase?
 
Omar Saad said:
I'm curious about this too. Does anyone have any first hand info?
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i own both, and have also 3 of the 25-250. one is the old generation (as the one used here), 2 the following ones.

right now i am in the middle of a movie and i hope to post soon.

if you want to see the angenieux 25-250 in action, just have a look at some kubricks. as example, barry lyndon used the 25-250 f3.2 on most of the exterior scenes.

people who dump it should be aware that well maintained 25-250 sell for 5.000~10.000 and are a rental standard. the never 3.2/3.5 are excellent, one of my all time favorites. we have them as rental as well.

for the recent testshots with red we used arri masterprimes and zeiss distagon as well, and i can clearly say that red exposes the weaknesses of these lenses as well. i was surprised by the amount of chromatic aberratin on the arri masterprimes and the softness of the zeiss in the outer areas.

we also have a cooke set on offer, this will be tested soon with red.
 
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