CANON Superspeed set for rent - NY

[George A.]

Hi!

I have an amazing set of superspeed lenses for rent in the New York area. They are the famous Canon K-35 set.

- Canon 18mm T1.6
- Canon 24mm T1.4
- Canon 35mm T1.4
- Canon 55mm T1.4
- Canon 85mm T1.4

To the basic set, I can add two other lenses for both ends of the spectrum:

- Canon 14mm T2.8
- Canon 200mm T2.8

Of course, all the lenses come in PL mounts.

Besides the speed, the lenses cover RED ONE (4.5K) no problem, in fact they cover 5K and 6K (full frame) as well. Ready for Epic-X and Epic Monstro when they come out. Ready for film cameras, as well.

If interested, e-mail me at:

[B]eastco@gmail.com[/B]

Thanks! All the best,
George

PS Obviously, insurance required etc etc - all the standard stuff.

 

[Rick Darge]

These lenses are the bee's knees..

I don't know why people fear them so... They are truly remarkable on the Red camera

 

[peter roehsler]

May I chime in with my 0,02 euros:
I have the same set and these lenses work miracles with actors´ faces. You wouldn´t want to shoot architecture with them, though. Besides that I believe there are image qualities which can not be described by lines per mm alone.
(The attached pix is a frame from a HD proxy (no CC) from actor/director Peter Kern´s latest movie `KING KONG TEARS´ - no lights, no reflectors - just daylight from a store window with a Canon K-35 50mm.)

 

[Rick Darge]

Your 50 looks very soft for a K35.. ?

Also, I would have to disagree with you about shooting architecture. They are great lenses for all applications. Sharp as shit with a nice rounded off edge.

 

[peter roehsler]

The image may look soft because you are looking at a downsized representation of an uncorrected raw file.
However I am happy to hear that these lenses are sharp even for architecture - I would not have thought so, but I hardly ever use them beyond F4.

p

 

[Sanjin Jukic]

From Canon lens history, year 1977:

"The K-35 series of lenses for cinematography wins an Academy Award from the U.S. Academy of Motion Picture Arts and Sciences."

LINK>>>

Actually they are the first aspherical cine lenses ever made,

also they cover FF35mm and based on Canon FD aspherical still lens design.

Compare the lens graphic drawings with aspherical surface at the above and below pictures.

Tonaci Tran:

"Out of the set, only the 18mm does not cover ff-35.
The remaining 24mm (1.6), 35mm (1.4), 55mm (1.4) and 85mm (1.4)
reportedly cover FF-35 which makes them the fastest FF-35 lenses ever made.
Later generation K-35 lenses were at a T1.3. Although opinions vary,
the quality of the Canon K-35s is arguably just as good as the Zeiss Super Speeds T1.3s."

LINK>>>

"This Canon lens is an amazingly effective lens and a superb design in itself.
Of course it lacks the sparkle and transparancy in small details that we can
see in better designs, but they are of lower maximum aperture.
Some commentators called the Canon FD 1.2 aspherical the best standard lens in the world.
It is hard to disagree."

LINK>>>

Anna F. shot on RED1 with Canon 50mm f/1.2 FD aspherical at wide open @ f/1.2, available light.

Gil G. shot on RED1 with Canon 50mm f/1.2 FD aspherical at wide open @ f/1.2, available light.

 

[George A.]

Peter,

You're DEFINITELY doing something wrong if you're afraid to use these lenses beyond F4.

They are sharper than the Zeiss Superspeeds, especially when wide open.

Go check you're lenses or your camera mount.

This very set has shot one of this year's Sundance winning feature films, and 90% of the shots were wide open, with absolutely no problems. Lots of architecture included

George

 

[Rick Darge]

George, which film was that?

 

[peter roehsler]

Thanks George,
I was talking about the `other´ side of F 4 - meaning I rarely stop them down to F4/5,6.
p