Canon L Lenses

[spaulgal]

What is the low down on Canon's best lenses when compared to Red or other top Cine lenses?

I will be purchasing an S35 Scarlet and was wondering if I should start investing in some Canon L Lenses.

I have a Digital EOS body (5D) and was hoping to share lenses with my Red and the EOS. But....I do not want to sacrifice quality.

I know Canon L lenses have quite the reputation in the still world, but I'm curious what the real-world differences are when compared to a Red or Cooke...which cost much more.

I will be interested in obtaining optimum images with my Scarlet!

Furthermore, will the S35 scarlet accept a canon lens without an adaptor?

Many Thanks!

 

[Tom Lowe]

Still lenses do not translate into good cine lenses, in all situations. The problem is focus-pulling.

Also, Canon's best lenses (L), generally, will be better suited to Epic/Scarlet FF35, rather than S35.

 

[Joel Kaye]

What is the low down on Canon's best lenses when compared to Red or other top Cine lenses?

Wait a couple months for the Birger mount to really get out there. Mechanically and optically I think they are very, very good lenses.

Focusing pulling? Well, hopefully Birger and View Factor solve that.

 

[liquid.spence]

K so i'm in a similar/same scenario where as, i'd like to know more about the "shortcomings" of still lenses vs: cine lenses.

From what i've gathered: (still looking for threads that may have already covered this but...)

issues with adjusting 1: zoom 2: focus 3: iris/aperature

seems like the issue on the first two is that the rings on the lenses don't have very "nice" teeth, or at least the kind that match up nicely with a follow focus setup. I know that the focus ring on my 24-105 L doesn't forward and past the focus' end points.

as for aperature, ummm yeah, since there's no ring on the lenses these days, it seems more up to the capabilites of the mount/attached computer system to manage this.

What i think would be awesome, mirroring what's been done with this guy's custom EOS mount in this thread
"http://www.reduser.net/forum/showthread.php?t=17454&page=36"

would be a purely software approach to the management of lens settings.
If i'm right in my interpretation of the "fly by wire" spec on the new scarlets, that is essentially whats in the future for us.

and honestly, the manual thing of gears and focus sets etc. in such a digital interface age kinda boggles me

as for L glass being better suited to FF35 instead of S35, i'd disagree seeing as that that extra coverage zone of the FF35 is usually plagued with softness and vignetting, thus i'd think the S35 would perhaps be best with L glass cuz you'll get more benefits of the "sweet spot" of the lens.

Just to add an end question to this: can anyone explain and quantify the functional difference between still glass and cine glass, because it doesn't seem that aperature rings, and focus ring grip/ distance markers, merrits such a cost difference. Is it simply that since the motion picture business burns through money so much faster than still photography, that companies have set that price arbitrarily, cuz they can?

 

[Frank Weeks]

would be a purely software approach to the management of lens settings.
If i'm right in my interpretation of the "fly by wire" spec on the new scarlets, that is essentially whats in the future for us.

I believe this is what Erik and Curt are trying to achieve.

can anyone explain and quantify the functional difference between still glass and cine glass, because it doesn't seem that aperature rings, and focus ring grip/ distance markers, merrits such a cost difference. Is it simply that since the motion picture business burns through money so much faster than still photography, that companies have set that price arbitrarily, cuz they can?

IMHO,The biggest difference is the mechanics. If Birger is successful they could reduce that advantage. Great shooters will always seek the best lenses but the field will even out a little if Birger is successful.

 

[Jonathan Stevenson]

One of the biggest issues I've encountered is the still lenses breathing. Even the prime models will breath badly, and this is a big problem for cinema use.

 

[Joel Kaye]

One of the biggest issues I've encountered is the still lenses breathing. Even the prime models will breath badly, and this is a big problem for cinema use.

I shot some UltraPrimes 40,50 and 85 that were worse than SLR 50mm and 85mm's I've used.

Depends on the individual lens. The SLR Zooms I've used don't hold up compared to an Optimo too well.

Check out this comparison:
http://www.ryanewalters.com/page2/files/cab173dd2420de896dd27c0dace7dc61-15.html

and this breathing test.
http://www.ryanewalters.com/downloads/ZeissTest/REW-Zeiss-Breathing-H264.mov

My experience has been that in real world shooting I don't notice breathing much because talent or the camera is often moving. But maybe the next guy would. I do believe this - audiences don't have a clue. They are watching the action.

 

[liquid.spence]

sorry man, found this now

pretty good i think, kinda gives more information so you can decide your own cost-image benefits

http://www.indie4k.com/archives/37

 

[Jonathan Stevenson]

My experience has been that in real world shooting I don't notice breathing much because talent or the camera is often moving. But maybe the next guy would. I do believe this - audiences don't have a clue. They are watching the action.

Whether they notice it or not, it still pisses me right the hell off! :sarcasm:

 

[Joel Kaye]

sorry man, found this now

pretty good i think, kinda gives more information so you can decide your own cost-image benefits

http://www.indie4k.com/archives/37

There weren't even any RED's out when that article was written. There's been so much misinformation on this topic it's scary. The truth is an awful lot of cool RED stuff has been shot on Nikon or Zeiss SLR lenses.

The Birger and View Factor could amplify that output. Or not. :construction:

 

[spaulgal]

Haven't heard of the Birger...until now.

If I understand it, it is to remotely control focus and aperture? So it is purely mechanical, and does not touch the optics?

Will I be able to get the S35 Scarlet with a Canon EF mount?

Also, I's like other opinions on how Canon L glass may work with the Scarlet S35.

Thanks

 

[Ian McAleece]

Whaaaat?

Whaaaat?

For those of us desperately following the Birger thread, hearing someone say they've never heard of it is like hearing someone say they've never heard of the RED itself. It's funny how much that saga has affected many of us. I say we must all wait 2 or 3 more months before there are working and fully functioning versions on the streets. I shot a short with the Nikon 17-35 w/ cheap adapter ring. plus a Canon L 24-70 2.8 and Canon L 16-35II 2.8 and I might've even used the 85 1.8. This was without the electronic focussing ability yet enabled on the Birger Mount. I thought everything looked fantastic. I saw no CA but if I wanted to make it appear I probably could. The breathing is sometimes better and sometimes worse than the RED 18-50. Mechanically it's obviously much harder to pull focus and you can't use a FF but for a pet project they worked out great. Here are some stills and info, the actual video will be coming soon.

RED One Birger Mount Stills