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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 :)

ARRIFLEX D-21 vs RED

Illya Friedman said:
The nicest I've ever seen. Although the claim of a difference in FOV is untrue.

Spherical lenses are not the same as anamorphic lenses.

I just checked with the shop, DALSA Anamorphic images have what is essentially IDENTICAL FOV to traditional P-vision anamorphic images. The math puts it at less than a .5 mm difference. I have seen a wider variation in FOV between two "identical lenses" from an (unnamed) manufacturer. For all intents and purposes, that difference in FOV is insignificant.

I.

Illya Friedman
DALSA
Digital Cinema Division
www.dalsa.com/dc
Click to expand...

I stand corrected, it must've been conveyed inaccurately to me.
 
Häakon said:
The sensor could be an octagon for all it matters... as long as it can be cropped to cover the entire area covered by your lenses, the proportion/aspect ratio does not matter.
Click to expand...

Except that to get the DOF/FOV you expect from an anamorphic lens, you need a sensor that is the size and shape of 4-perf 35mm (or thereabouts). Or the crop you take needs to be that size (so if you want an octagon sensor that's fine, so long as it's big enough for you to take the correct size of 4:3 area from the centre).
 
Illya Friedman said:
The nicest I've ever seen. Although the claim of a difference in FOV is untrue.

Spherical lenses are not the same as anamorphic lenses.

I just checked with the shop, DALSA Anamorphic images have what is essentially IDENTICAL FOV to traditional P-vision anamorphic images. The math puts it at less than a .5 mm difference. I have seen a wider variation in FOV between two "identical lenses" from an (unnamed) manufacturer. For all intents and purposes, that difference in FOV is insignificant.

I.

Illya Friedman
DALSA
Digital Cinema Division
www.dalsa.com/dc
Click to expand...

Illya,

would you be so kind to specified a glass "origin" of these brand new DALSA lenses?

(Leica-R, Nikon-F, Canon-FD, Zeiss-Contax, etc...???)


"DALSA Prime Lenses

DALSA 4K Primes

DALSA 4K 19mm T2.8
DALSA 4K 24mm T2.8
DALSA 4K 28mm T1.4
DALSA 4K 35mm T2.8
DALSA 4K 50mm T1.4
DALSA 4K 80mm T1.4
DALSA 4K 180mm T1.4
DALSA 4K 200mm T1.4 Telephoto
DALSA 4K 300mm T1.4 Telephoto

DALSA Zooms

DALSA 4K 18-75mm T2.0 Zoom
DALSA 4K 75-150mm T2.0 Zoom

DALSA Anamorphic Lenses

DALSA 4K Anamorphic Spherical

DALSA 4K 18mm T2.8
DALSA 4K 24mm T1.4
DALSA 4K 28mm T1.4
DALSA 4K 35mm T1.4
DALSA 4K 40mm T2.0
DALSA 4K 50mm T1.4
DALSA 4K 80mm T1.4
DALSA 4K 100mm T1.4
DALSA 4K 135mm T2.0
DALSA 4K 180mm T2.0

DALSA zooms

DALSA 4K 35-80mm T2.8 Zoom
DALSA 4K 70-210mm T2.8 Zoom
DALSA 4K 17-35mm T2.0 Lightweight Zoom
DALSA 4K 27-70mm T2.0 Lightweight Zoom
DALSA 4K 70-210mm T2.0 Lightweight Zoom

MORE>>>
 
Stephen Webb said:
Except that to get the DOF/FOV you expect from an anamorphic lens, you need a sensor that is the size and shape of 4-perf 35mm (or thereabouts). Or the crop you take needs to be that size (so if you want an octagon sensor that's fine, so long as it's big enough for you to take the correct size of 4:3 area from the centre).
Click to expand...
Right, that's exactly what I said... "as long as it can be cropped to cover the entire area covered by your lenses, the proportion/aspect ratio does not matter." What started the confusion for me was that I wasn't aware that RED's sensor was smaller vertically than Arri's.

I think we're saying the same things now... I just wanted to make it clear that the aspect ratio of a sensor is really irrelevant as long as your lenses don't cover a bigger area than the sensor itself. :-)
 
The Third Man said:
would you be so kind to specified a glass "origin" of these brand new DALSA lenses?
Click to expand...

I actually only know the source of some glass used in manufacturing DALSA lenses. While glass is important, it's only part of the equation. I'd say that the artistry of how elements work together, and the human factor is equally important when building ultra-high performance optics! Having good building blocks is not enough.

DALSA also owns/rents many lenses from Arri, Zeiss, Cooke, Angeneiux etc. These lenses are outstanding. To avoid confusion, when I say "DALSA lenses" I'm only referring to DALSA created/branded lenes. DALSA has so many sets of those other lenses because DPs want a variety of options and my job is often to provide those options.

The architects of all DALSA lenses are the team at A&S. Eric and Dan do fantastic work, are highly respected for their craft and integrity, and have been for a good long time. The work these guy do is so precise and complicated I find it amazing. A perfect example of one of Dan's little projects can be found in the January American Cinematographer piece on "There Will Be Blood."

I feel extremely fortunate that we have these artists getting to "play"... that is experimenting, developing and perfecting wonderful new optical technology to mate perfectly with our camera system. To my knowledge the DALSA 4K lenses are truly the world's first digital cinema optics (spherical and anamorphic) designed and built specifically for 4K. There will be some new fun lenses on display at Cine Gear.

I.

Illya Friedman
DALSA
Digital Cinema Division
www.dalsa.com/dc
 
Illya Friedman said:
I actually only know the source of some glass used in manufacturing DALSA lenses. While glass is important, it's only part of the equation. I'd say that the artistry of how elements work together, and the human factor is equally important when building ultra-high performance optics! Having good building blocks is not enough.

DALSA also owns/rents many lenses from Arri, Zeiss, Cooke, Angeneiux etc. These lenses are outstanding. To avoid confusion, when I say "DALSA lenses" I'm only referring to DALSA created/branded lenes. DALSA has so many sets of those other lenses because DPs want a variety of options and my job is often to provide those options.

The architects of all DALSA lenses are the team at A&S. Eric and Dan do fantastic work, are highly respected for their craft and integrity, and have been for a good long time. The work these guy do is so precise and complicated I find it amazing. A perfect example of one of Dan's little projects can be found in the January American Cinematographer piece on "There Will Be Blood."

I feel extremely fortunate that we have these artists getting to "play"... that is experimenting, developing and perfecting wonderful new optical technology to mate perfectly with our camera system. To my knowledge the DALSA 4K lenses are truly the world's first digital cinema optics (spherical and anamorphic) designed and built specifically for 4K. There will be some new fun lenses on display at Cine Gear.

I.

Illya Friedman
DALSA
Digital Cinema Division
www.dalsa.com/dc
Click to expand...

Illya very impressive.


Also I heard long ago that the most GLASS that is used in brand new DALSA set is Leica based glass.

But that about Laica AG doesn't want to hear something like that till they will have developed Cine line lenses.

Also it is a lot about patent infringement, etc...

It's a pitty that recent 80 years of German history gave Leica a lot of troubles to fight for a survival.

Obviously that the companies like a Panavision and Dalsa benefit from this however it is a legal doing things or not.
 
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