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Angenieux lens

M

Mathias Seebacher

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I thought of using this lens maybe in combination with the Scarlet 2/3".

http://cgi.ebay.de/PL-Mount-Super-1...14&_trkparms=72:1229|66:2|65:12|39:1|240:1318

My questions are:

Does this lens cover the 2/3" area since 16mm is slightly smaller than 2/3"?
At the auction they say that they use this lens with 2K at Red One, so is Red 2K cropped to 2/3" or to 16mm?

What about S16mm - Can I use lenses designed especially for S16mm? Also to small, I think?

Regards
snuftr
 
That lens (17.5-70mm) is the S16 version so should cover the 2/3" format fine. There is also an almost identical 16mm Angenieux lens, the 17-68mm/f1:2.2, which I think would give you the same image quality, should also cover the 2/3 format, and can be found second hand for a lower price. The other difference is that it would probably be difficult to find in PL mount - it's usually a C mount lens.

Jason
 
Thanks.

I thought 2/3" is bigger than 16mm / S16mm.
Now that this is cleared up the thread can be closed since I can use any 16mm lens.

PL mount or C mount - Scarlet can take them both, isn't it?
 
The internal construction of the 17.5-70 is of a much higher order then the 17-68 which was of poor mechanical AND optical quality.
 
2/3" HD requires the same coverage as standard 16mm, . S16 will cover no problem. Scarlet 2/3" has a diagonal of 11.42mm vs 12.75 for S16.
 
Sensor & film gate sizes

Sensor & film gate sizes

I did some research on sensor and film gate specs in mm and this is what I found. If these are correct than any standard 16mm lens should cover the Red 2/3 sensor.

Super 16mm gate 12.52mm X 7.14mm
16mm gate 10.26mm X 7.49mm

Red 2/3 sensor 10.1mm X 5.35mm
Standard Broadcast sensor 8.8mm X 6.6mm
 
I worked with Ken on the design of the PL mount for these lenses. It's a custom PL mount rather than an adapter and it will not come loose.

I projected the lens (roughly, since I did not have a way to properly mount it at the time), and was surprised that the are really quite sharp. That's probably because of the short zoom range and relatively small maximum aperture.

It's never going to have the contrast of a multi-coated lens, but on digital cine cameras, a softer contrast lens can look more "film-like". It's actually a pretty good deal for the money. And they do cover S16 aperture for the full zoom range IIRC.
 
The correct specs (ARRI version) for Super 16 full aperture are 7.5 x 12.35 mm. I carefully researched this before EDM machining of the standard gates to super.

If the RED 2/3 sensor is 10.1mm wide, it will probably get better results with S16 lenses, as the regular 16 aperture is 10.26mm wide. I would recommend Super 16 lenses.
 
Jorge Díaz-Amador said:
I worked with Ken on the design of the PL mount for these lenses. It's a custom PL mount rather than an adapter and it will not come loose.

I projected the lens (roughly, since I did not have a way to properly mount it at the time), and was surprised that the are really quite sharp. That's probably because of the short zoom range and relatively small maximum aperture.

It's never going to have the contrast of a multi-coated lens, but on digital cine cameras, a softer contrast lens can look more "film-like". It's actually a pretty good deal for the money. And they do cover S16 aperture for the full zoom range IIRC.
Click to expand...

Where could I purchase such an adapter?
 
Scott Watts said:
Where could I purchase such an adapter?
Click to expand...

It is not really an adapter, it is a custom hard PL mount, for a very specific lens. If you have a 17.5-70mm lens that has the Cinema Products mount on it, that was part of a limited run back in the eighties, then this mount will convert your lens to PL. It should be installed by a qualified lens technician.
 
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