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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 :)

Birger Lens Mount Reservations

Thanks Hoffman.

Enzo a specific test for the EF 85mm f/1.2L II as well as other L series Canon lenses will come shortly on the LENS thread of this forum.

Also important remains the factor of remembering that we are talking about DSLR lenses, not Cine lenses and this cost about 6 to 10% of their counter part Cine lenses.

You always get what you pay for.

As far as Canon Glass and especially the L series lenses would make, thanks to Birger, an incredible and extremely suitable great option for RED, in any project, including feature films.

Ciao,

KETCH ROSSI
 
KETCH ROSSI said:
So for those that can't afford to purchase thos lens they can surely go with the good 85 1.8, but don't aspect to get even close to the 85 1.2L II.
Click to expand...

This is where we are going to disagree. Although I acknowledge that the 85mm F/1.2L is the flagship lens for Canon, and quite possibly one of the best lenses ever made, I do not believe that there will be a very large qualitative difference when mounted on a video camera, even the Red Camera. Not that the F/1.2L is not amazing, but that the F/1.8 is just that good.

The logic that I was laying out in my post was more to point out that one could save the $1500 from the purchase of the 85 F/1.2L, and another $1000 by forgoing the 24-70mm F/2.8L, and pretty much afford a full set of primes: 28, 35(L), 50(L), 85. F/2.8 is probably where I would want to shoot most indoor scenes, and having to run a zoom lens wide open is just not a good idea, no matter how good the lens is. A set of primes is a better option IMHO.

KETCH ROSSI said:
The two photos below are from LART, and shot wide open at 1.2, please do note that this have not been modified from their RAW format and were shot as candid photos with available light only. No color correction or any Post has yet been done to the photos, they also have been heavily compressed to post here.

However the two simple shots show clearly the Isolating power of this lens.
www.KETCHFRAME.com
Click to expand...

The images you posted are very beautiful, but I believe them to both be recreatible with the 85mm F/1.8. There is just not a whole lot of difference between F/1.2 and F/1.8, and at the background distances of the images you posted, the F/1.8 would do fine.

The difference in useable brokeh is neglegible; in most filming situations you want the background soft, not oblitterated. Do you really plan on running the 85mm wide open? When you obliterate a background the viewer's eye will wander to it out of curiosity, trying to figure out what is hidden (oh, it's a Mustang, probably a Cobra). The background should be soft but easily discernable and therefore discounted by the mind (It's just a beach, watch the woman). I'm sure I'm not telling you anything you do not already know, just pointing out the utility of an extra stop down at F/1.2 might be an expensive option that never gets used.

These are just my opinions, your mileage may vary, it's art after all...

Bob
 
Bob,

the 85 1.8 is a good lens, I agree, but again you can not compare the build quality of the specific 85 1.2L Mark II, there is just nothing to compare as far as the build quality, period.

Now as far as the quality of the image produced by the 85 1.8, again I agree it produces good images, but don't let any one say that it is at par with the 85 1.2L Mark II, it is not by far, especially at wide open.

Yes I do and many do shoot this super speed FX lenses wide open to literally obliterate the background creating an extreme Bokeh for the simple purpose to extract the subject ( in a strong way ) from the background, this is the most appreciated feature of this lens ( beside extreme low light shooting ).

I have owned all 50 and 85 lenses and tis is the one I kept as it is the absolute best.

The L marking on the lenses it is not nearly branding, it is there to differentiate them from the regular lenses, and it is so for more then one very good reason.

I'll not go any dipper as not to take this post in a different direction, but believe me when I say that RED will use up the best lenses as the most modern Photo cameras do, just as it is not the same when using the same lens on the 40D or the 1Ds MARK III, truly it is not.


You do make very good points, but the L series lenses can not be compare by far to the standard ones as they stand in a world of their own for Build quality, some have whether resistance, way better focusing ring, much faster AF, better performance with the USM and the list goes on.

At last different needs different lenses and choices is what is all about, users should inform them self before buying any lenses, but my advise is to not solely rely on reviews from lab tests or some bias reviewers as they unfortunately stir people away from the right direction.

Ciao,

KETCH ROSSI
 
Lighting

Lighting

There are three 4x8 sheets of foam core staged together to make an 8x12 bounce with 4k of tungsten on it about 5 feet camera right and in front of the girl for the key. A 650 with diffusion above and behind her head for a hair light. A 650 with diffusion camera left and behind girl about 3 feet for rim. 2 1k's with diffusion behind set wall at about 8 feet high for general back light. And a 2k fresnel through a pattern about 20 feet camera right and about camera distance to light the set wall.
 
650

650

Sorry, I left out the fill. Fill is from a 4x8 sheet of foam core camera left about 3 feet from talent. There is no light for it, it is reflecting light back from the key. The 650's are for A: rim (back light/side light) located behind and to camera left of talent at head level (this shows up more on the skin of the face than here on the side of her dark hair), and B: a hair light boomed over the talents head.
 
Erik,

You mentioned that you might make a Nikon "dumb" mount for Nikon reservation holders. Are planning to do this? If so, would you let us know when?

Also, considering the recent delays, and the fact that many of the Canon reservation holders will opt to wait for the Canon / PL mount combo, would it be possible to make a Canon "dumb" mount as well? I would buy one in a heartbeat.

-Thor

Edit: Just to clear up any possible confusion, please read Erik's original post about swapping quickly between Canon and PL:

http://www.reduser.net/forum/showpost.php?p=137239&postcount=44

I presumed it was an adapter (hence the wording above), but I honestly don't know how it will work. As long as it is easy to swap between Canon and PL lenses, I'm happy.
 
Thor Wixom said:
Erik,

You mentioned that you might make a Nikon "dumb" mount for Nikon reservation holders. Are planning to do this? If so, would you let us know when?

Also, considering the recent delays, and the fact that many of the Canon reservation holders will opt to wait for the Canon / PL mount combo, would it be possible to make a Canon "dumb" mount as well? I would buy one in a heartbeat.

-Thor
Click to expand...

What's the Canon / PL mount combo? And who's making this...
Darn it's hard to stay on top of who's making what and when.

I just want a mount for either Canon or Nikon, with a realistic, announced production date, so I can reserve it and buy lenses.
 
Ok I've been quiet up to now. I just really hope that a final schedule can be posted this week, and I can FINALLY get a confirmation on my deposit which I gave long ago.

I did get a confirmation from Birger that they got my form, so I am not worried about that.

Like so many others, I have a camera coming in two weeks or so, and this mount will be the ONLY way I can use lenses on it.

Getting nervous

Jay
 
Jay A. Kelley said:
Ok I've been quiet up to now. I just really hope that a final schedule can be posted this week.
Click to expand...

Just spoke with the machine shop today, and our next slot will be used to make the Canon housings. Final drawings will be released shortly. Including the machine time, anodizing and laser engraving - this is a two week process for parts to start coming out the back end in volume.

We have resolved the shimming issues, from a material perspective, but still need to finalize the vendor and drawings. These will be laser cut stainless steel. Need to understand the lead times for this, as it will dictate the schedule the most.

PCB changes will be finalized in a few days, and released for fab. These are minor changes, so we will probably run the full lot of boards, instead of just a single panel (qualification run).

Schedule will be out by the end of the week...
 
Are we going to get PL mount socket for the Canon mount in the future, so we don't have to unscrew your mount completely to change to PL lenses?
Looks like you can make socket for Canon mount to accept PL lenses but not vice versa because of Back FL, correct?
?
 
very good news ...

very good news ...

birgerEngineer said:
Schedule will be out by the end of the week...
Click to expand...

Thanks for the update.
Any feedback from your beta testers that you are happy to share ?

Cheers ...
 
Andrew said:
Are we going to get PL mount socket for the Canon mount in the future, so we don't have to unscrew your mount completely to change to PL lenses?
Looks like you can make socket for Canon mount to accept PL lenses but not vice versa because of Back FL, correct?
?
Click to expand...

I also would love to know about this.
 
Have yet to receive a notification of my order. No problem, but if they have all gone out, I need to contact Birger. Please advise.

Mark Tyson
 
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