Steve Gibby
Red Savant
Michael,
We definitely use quite similar kits (Epic, Canon lenses, GoPro, lightweight tripod) because obviously that's what gives us a combination of great mobility and excellent images in a mobile documentary scenario. BTW the documentary I'm working on right now in the Caribbean isn't strictly a wildlife doc, but it has elements of wildlife, adventure travel, alternative sports, cultures, and tons of interviews - thus the use of the Canon XF 100 for certain shot sequences (general mobile shots, interviews, etc.). The XF100 and XF300 give me a small, portable EFP style camera that shoots 1080p at 50Mbs, in a 4:2:2 color space - the parameters accepted as the threshold of "broadcast quality" by most TV networks. This documentary is destined for a 1080 delivery for TV broadcast.
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As we know, 35mm still lenses are designed to resolve crisp images from CMOS sensors - not surprising that using those same lenses on Epic (or Red One), which is obviously a CMOS sensor, generates crisp images. I don't have the MTF data in front of me, but after almost six years of personal field use of 35mm still lenses on Red One and three years of using them on Epic, I'll say that top-level 35mm still lenses used correctly on Epic generate incredibly crisp and dynamic images - IMO easily equal to many (if not most) of the hyper-expensive and heavy (thus immobile) cine lenses. 35mm still lenses must be chosen carefully because some individual lenses within any given model can be sub-standard. But if you choose carefully and get a good one, and are willing to operate them as you would on a DSLR (no FF, MB, etc.), they give you a great image on Epic - while being way affordable, and incredibly mobile too because of their small size and relatively light weight for their focal lengths.
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Nikon lenses? They work great on Red One and Epic and generate incredibly good images. On Red One at one point I was using 27 different Nikon lenses. Some of them were modern (14-24, 24-70, 80-200), and some of them were older AIS lenses (50-300). When I can get around to it I'll get the Red Nikon Titanium mount for Epic so I can use my Nikon lenses when I want that "look" from the images. Nikon lenses seem to generate a bit "cooler" (in temperature and texture) look on Red cameras than Canon lenses, which generate a bit "warmer image. I like both - its like apples and oranges. My DSLR system is Canon, and Red made the Canon mount for Epic first, thus my ongoing use of my Canon lenses on Epic.
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I have the Sigma 150-500. If you get a good one it can generate some very good images on a DSLR or Red camera. Perhaps its just my individual lens, but I find it good out to around 425mm, but softer on out to 500mm. That said, if you know the limitations of the lens, and you get a good one, it can be a very good wildlife and sports lens on Epic. I use the Sigma 120-300 f2.8 lens more than the 150-500 f5-6.3 because the 120-300 is more crisp, faster, and if I need longer focal length I add in a 1.4x extender, which gives me a 168-420mm f4 zoom. The 120-300 (6.5 lb) is slightly heavier than the 150-500 (4.2 lb).
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James,
I agree on the Canon 150-600. I was the first one to use one of those on Red One (August 2007, on my Red One SN 0008), and in fact the first to use one on an Epic (February 2011, on me & Ketch's Epic M SN 0008). Mine is a stock 150-600, except it has a Century PL mount conversion. On both Red One and Epic that lens generates incredibly good images. The stock lens weighs just over 9 pounds. Its a great wildlife and sports lens - exactly what it was designed for in the late '80's. Obviously the 150-600 is a very rare lens, extremely hard to find - thus I didn't include it in my original post.
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I was one of the very first pioneers of shooting mobile EFP style with Red cameras - especially documentaries - and though our company (Golden Gate 3D) now does lots of 3D production, we still do lots of mobile 2D documentary (mobile EFP) style productions - and they're still my personal favorite type of production. There's just something that buzzes me about being out there by myself (or with a small crew), with a small mobile rig getting dynamic images - and with Red cameras that level of mobility calls for 35mm still lenses, and for documentaries most often it calls for 35mm still zooms, not primes. Modern top-level 35mm still zooms generate images on a par with primes, but give you the ability to quickly re-frame and nail the shots - something which is absolutely critical for almost all genres of documentaries.
We definitely use quite similar kits (Epic, Canon lenses, GoPro, lightweight tripod) because obviously that's what gives us a combination of great mobility and excellent images in a mobile documentary scenario. BTW the documentary I'm working on right now in the Caribbean isn't strictly a wildlife doc, but it has elements of wildlife, adventure travel, alternative sports, cultures, and tons of interviews - thus the use of the Canon XF 100 for certain shot sequences (general mobile shots, interviews, etc.). The XF100 and XF300 give me a small, portable EFP style camera that shoots 1080p at 50Mbs, in a 4:2:2 color space - the parameters accepted as the threshold of "broadcast quality" by most TV networks. This documentary is destined for a 1080 delivery for TV broadcast.
---------------------
As we know, 35mm still lenses are designed to resolve crisp images from CMOS sensors - not surprising that using those same lenses on Epic (or Red One), which is obviously a CMOS sensor, generates crisp images. I don't have the MTF data in front of me, but after almost six years of personal field use of 35mm still lenses on Red One and three years of using them on Epic, I'll say that top-level 35mm still lenses used correctly on Epic generate incredibly crisp and dynamic images - IMO easily equal to many (if not most) of the hyper-expensive and heavy (thus immobile) cine lenses. 35mm still lenses must be chosen carefully because some individual lenses within any given model can be sub-standard. But if you choose carefully and get a good one, and are willing to operate them as you would on a DSLR (no FF, MB, etc.), they give you a great image on Epic - while being way affordable, and incredibly mobile too because of their small size and relatively light weight for their focal lengths.
--------------------
Nikon lenses? They work great on Red One and Epic and generate incredibly good images. On Red One at one point I was using 27 different Nikon lenses. Some of them were modern (14-24, 24-70, 80-200), and some of them were older AIS lenses (50-300). When I can get around to it I'll get the Red Nikon Titanium mount for Epic so I can use my Nikon lenses when I want that "look" from the images. Nikon lenses seem to generate a bit "cooler" (in temperature and texture) look on Red cameras than Canon lenses, which generate a bit "warmer image. I like both - its like apples and oranges. My DSLR system is Canon, and Red made the Canon mount for Epic first, thus my ongoing use of my Canon lenses on Epic.
---------------------
I have the Sigma 150-500. If you get a good one it can generate some very good images on a DSLR or Red camera. Perhaps its just my individual lens, but I find it good out to around 425mm, but softer on out to 500mm. That said, if you know the limitations of the lens, and you get a good one, it can be a very good wildlife and sports lens on Epic. I use the Sigma 120-300 f2.8 lens more than the 150-500 f5-6.3 because the 120-300 is more crisp, faster, and if I need longer focal length I add in a 1.4x extender, which gives me a 168-420mm f4 zoom. The 120-300 (6.5 lb) is slightly heavier than the 150-500 (4.2 lb).
--------------------
James,
I agree on the Canon 150-600. I was the first one to use one of those on Red One (August 2007, on my Red One SN 0008), and in fact the first to use one on an Epic (February 2011, on me & Ketch's Epic M SN 0008). Mine is a stock 150-600, except it has a Century PL mount conversion. On both Red One and Epic that lens generates incredibly good images. The stock lens weighs just over 9 pounds. Its a great wildlife and sports lens - exactly what it was designed for in the late '80's. Obviously the 150-600 is a very rare lens, extremely hard to find - thus I didn't include it in my original post.
--------------------
I was one of the very first pioneers of shooting mobile EFP style with Red cameras - especially documentaries - and though our company (Golden Gate 3D) now does lots of 3D production, we still do lots of mobile 2D documentary (mobile EFP) style productions - and they're still my personal favorite type of production. There's just something that buzzes me about being out there by myself (or with a small crew), with a small mobile rig getting dynamic images - and with Red cameras that level of mobility calls for 35mm still lenses, and for documentaries most often it calls for 35mm still zooms, not primes. Modern top-level 35mm still zooms generate images on a par with primes, but give you the ability to quickly re-frame and nail the shots - something which is absolutely critical for almost all genres of documentaries.
