4K cropping from standard Cine primes??

[dean tsolakis]

G'day,

I suspect this has been discussed previously in the forum so apologies if so, can any one tell me what Standard

spherical Cine prime lenses are designed to cover?? is it the standard academy format ( 21.95 x 16 ) ??

if so is there a huge difference between standard/ super 35mm or 5k native mysterium sensor for scarlet ( 27.7 x 14.6 )??

in terms of how and what they cover?? Like if i place a ARRI Ultra prime 10mm which has an AOV of 114 degree on S35

what would i except to view ( AOV) when shooting at 4K with the Scarlet sensor??

Would appreciate every ones expertise, cheers

 

[Patrick Lavaud]

You should find your answers here: http://www.reduser.net/forum/showthread.php?66210-Scarlet-X-Data-Sheet

 

[dean tsolakis]

thanks for the link Mystikpat,
I've seen that Data sheet before and its interesting, but doesn't really answer my question? according to that Data sheet there would be a 1.6x crop factor
but that is derived from using Full Frame format as the point of reference, my interest lies more in Cine NOT Stills

I really don't know why everyone insists on using FF35 as the standard when talking about comparitive AOF of Cine lenses??

 

[Benoît-Joan Clariana-Roig]

I really don't know why everyone insists on using FF35 as the standard when talking about comparitive AOF of Cine lenses??

Latest versions of PL lenses are designed to fit with the 5K sensor.

 

[Gavin Greenwalt]

G'day,

I suspect this has been discussed previously in the forum so apologies if so, can any one tell me what Standard

spherical Cine prime lenses are designed to cover?? is it the standard academy format ( 21.95 x 16 ) ??

if so is there a huge difference between standard/ super 35mm or 5k native mysterium sensor for scarlet ( 27.7 x 14.6 )??

in terms of how and what they cover?? Like if i place a ARRI Ultra prime 10mm which has an AOV of 114 degree on S35

what would i except to view ( AOV) when shooting at 4K with the Scarlet sensor??

Would appreciate every ones expertise, cheers

http://www.vfxnation.com/showthread.php/220-Camera-Specs-and-Resources

Epic/RED-MX/Scarlet 4k: 22.12mm
s35: 24.29mm
academy 35: 21.95mm

So less than 10% in each direction.

 

[Phil Holland]

Hi Dean, I replied to you here: http://www.reduser.net/forum/showthread.php?66210-Scarlet-X-Data-Sheet&p=883020&viewfull=1#post883020

But the basic idea behind this is that if you are used to shooting S35 you won't see too much of a difference in crop factor at 4k. At 5k however, you'll notice that your lenses are bit wider. If you use your lenses on a FF35 body you'll notice that they are even more wider.

Gavin's reply is correct. However, the effect of the crop factors with their 10% difference is much more profound from 8-50mm.

Most cinema lenses made for S35 will cover Scarlet at 4k with no problem at all. However, you'll find that the projected image circle from some lenses doesn't cover at 5k. Lenses designed for FF35 use have no problem covering 4k or 5k and will work on a FF35 Red sensor when they get around to that.

That chart and the "relative to 4k" chart I made should assist with most shooting situations where you would need to calculate the effect of the crop factor in realistic shooting terms.

 

[dean tsolakis]

Thanks again Phil,
yeah the basis of my thinking revolves around 4k, which i think is more accurately 3.2k or some where there, relative to
conventional 35mm emulsion based film? again please correct me if i'm wrong , it doesn't really concern me if RED eventually
designs a 8K + sensor, i like it around 4k with spherical primes

 

[dean tsolakis]

Thanks for that link Gavin,
So is it true to say when shooting RED MX 16.9@4k with a 10mm Ultra prime designed around S35 would effectively have less of a
coverage in terms of angle of view?? making it more like a 12mm??? or would that be incorrect?