Angenieux Rouge

[Harry Clark]

Too soft unless you crop?
What do you mean? MTF is MTF. The optical low pass filter does not change.
I'm not sure how a lens appears "sharper" if you crop.
I'm sure S4s will look fantastic shooting people's faces, which are what we get paid for. Maybe we can replicate the SALT test with Epic, when yours has some down time... which I'm sure is never
Cheers,
Harry

Wrong.

Rouge 16-42 + 30-80 = full coverage
Optimo 15-40mm = full coverage
Ultra Primes = full coverage
Master Primes = full coverage

adapter coming from Ang. that will allow full coverage on Optimo 24-290, 17-80 + 28-76 in 5K FF.

Only looser in the 5K world IMO is Cooke S4s. Too much barrel distortion and too soft unless you crop to 4K.

 

[jonnycom]

Both Optimo's have amazing coverage, almost as much as the Lecia's, I put them up on the projector at Band Pro when I was playing with the Leica's 2 weeks ago and was really impressed with the Optimos.

If you only had 1 I would say get the 16-42, you can always go 3k or 2k if you have to.

I shot some pick up shots of Super8 with our MX and 30-80 and they blended perfectly with the ana 35 film. I'll tell what was shot on Red after the movie comes out.

 

[Evin Grant]

I'm interested you would say that the "curve" would make flatness of field appear worse. How so ?
jb

The Redspace curve bumps up the tones in the upper mids (green/gray/pink in the false color) and this accentuates contrast in these tones. It's designed for skin tones but may make a 2:1 ratio look more like 2.5 or 3:1 depending on where on the curve the tone is placed. Since most often this aberration would be seen in the flatter high key shoulder area where the highs are rolled off it will be less apparent. It's very hard to determine the actual falloff without checking it with a flatter curve like Rec709.

 

[John Brawley]

The Redspace curve bumps up the tones in the upper mids (green/gray/pink in the false color) and this accentuates contrast in these tones. It's designed for skin tones but may make a 2:1 ratio look more like 2.5 or 3:1 depending on where on the curve the tone is placed. Since most often this aberration would be seen in the flatter high key shoulder area where the highs are rolled off it will be less apparent. It's very hard to determine the actual falloff without checking it with a flatter curve like Rec709.

I find that hard to beleive (that it would cause field flatness to be accentuated more). Surely the *contrast* bump doesn't affect different parts of the image field...it's an across the board adjustrment.

(*EDIT. Even when you change the exposure up and down on the camera, it still shows up. I just set it there to illustrate how obvious it is. I could have easily done the same thing down the lower end of the exposure scale.)

No matter. The lens isn't flat and I was just pointing it out to those that hadn't heard about it with regards to the rouge lenses. Very few lenses are of course, especially zooms.

If it's a half a stop or a stop and half....you'll see it on the day and you'll certainly see it in rushes and in the grade. Most of the time I don't mind. It's a natural vignette. I hate it post when I'm pannig through a frame with large flat fields and it becomes VERY obvious....

jb

 

[Evin Grant]

It doesn't accentuate different parts of the frame it just exaggerates the overall contrast of the scene, which can cause a 1 stop fall off to look like it's more that that. That's all.

I'll do a more controlled test when my 30-80 arrives.

 

[John Brawley]

It doesn't accentuate different parts of the frame it just exaggerates the overall contrast of the scene, which can cause a 1 stop fall off to look like it's more that that. That's all.

I'll do a more controlled test when my 30-80 arrives.

Hi Evin...

It's more than a stop, especially on the 16-42 at 16mm. I was simply illustrating in the easiest way for me to do so right now....taking a shot of my lcd screen with false colour up to show that it's not flat. We can argue about how much and people should do their own tests. Let me know what you think it is. I know what it is *for me* from grading hours of finished broadcast drama.

I was surprised when I found the fall-off to be so dramatic. I'd assumed the rouge were of a more tele-centric design which should help reduce this problem...Just to check, I also tested the regular (film) optimos, thinking I would use them instead and found them to be exactly the same....

jb