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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 :)

FF35 Cine Glass: Get Ready

clarification

clarification

I did not mean it personally to anyone, just to be clear.
I was just making a point about doing research before posting to get rid of this horrible noise here. I come here for knowledge. I don't suffer from Alzheimers so reading hundreds of posts about FOV, DOF, CA etc is living the Ground Hog Day every time I come here. Many members spent a lot of time compiling, making charts, graphics etc about it. Fantastic knowledge base.
Seem like very few posters are using it. 2 minutes on Google would answer over 50% of these questions, 5 minutes on Google would answer 90% of them.
Here, here, rant over
Jacek Zakowicz, OptiTek
 
USlatin said:
You were right, I did mention Zeiss Super Speeds. I was only bringing them up as the option within the reach of our infinitesimal budget. For $3,600 I could rent a set of 5 super speeds (if they were not rented to someone else) and use them with S35 Scarlet. In that scenario we'd have the 18mm on the S35 as our widest end.

This might just be a big confusion sparked only due to my huge wall of text. I apologize for that... I just feel the need to triple check everything, and to try to run it by you guys (for free :whistling: ) since I am quite ignorant when it comes to photography.
Click to expand...

Then what the hell are you doing looking thru that camera eyepiece? Only kidding. One can never be too sure of what one is doing before doing it. It gets really costly if you find out at the shoot something is not going to work.
Information is everything. Your operator and 1st asst. should be able to handle all such questions.
 
chuck colburn said:
Then what the hell are you doing looking thru that camera eyepiece? Only kidding. One can never be too sure of what one is doing before doing it. It gets really costly if you find out at the shoot something is not going to work.
Information is everything. Your operator and 1st asst. should be able to handle all such questions.
Click to expand...

Yea, but I am putting this project together all alone and those guys will get very little compensation for the shooting days... if I told you what I am trying to achieve and told how how much money you might burst out laughing. :calm:

OptiTek, would you be ablt to tell me if the testing performed on the ZF's was done for FF35? Let me get the link.
 
well maybe you are just better at searching for this stuff too... I literally have been searching for the old thread this whole time... glad I looked back in here, therefor I feel the 2 minute mark to be bias and unfair :tongue:

seriously though I am not considering the 18mm, too slow, I am looking at these:

Tokina f2.8 11-16mm
ZF f2.0 28mm
ZF f2.0 35mm
ZF f1.4 50mm
ZF f1.4 85mm

not the same one but great to have more to read
 
The "new" 21mm f2.8 has been delayed in release but if it's as good or better then the model made for the Contax camera it will be a monster.
 
AHA! found it... but now I still have to find the link within the thread... make that about 15 minutes and going for people like me :tongue:

Thread: http://www.reduser.net/forum/showthread.php?t=13760

EDIT Ok, so this wasn't even the right thread but it did have these links

Tokina: http://www.kenrockwell.com/tokina/11-16mm.htm
ZF: http://www.ryanewalters.com/downloads/ZeissTest/REW-ZeissLensTest-Results.pdf
ZF (other test, purchase): http://www.diglloyd.com/diglloyd/infos/ZeissZFLenses/index.html

Ok.. I am burnt out for today... I'll find it later. :nerd:
 
Yea. I remember several users here said it was well worth the money.

There was an other one though, I think... one with the little grid for distortion and all... can't find it though...

also, apparently the Tokina vignetes like crazy with full frame sensors till you set it to 16mm... however 16mm with FF is 180 degrees FOV, right? That sound like plenty wide to me!

I don't understand how it could be so wide and remain rectilinear, but there is a ton I don't know about optics so I'll leave it at that I guess.

So the set of ZF's and the Tokina would work with FF35 as 16, 28, 35, 50, 85... and then if you needed it you could also set the camera to windowed S35 and make that 85mm work as a much longer lens too... assuming the window mode is in fact included in Scarlets as I think it was confirmed by someone in the Red team as some point in time... (if I remember correctly)
 
There is a good article on related matter of focusing here:

http://www.slrgear.com/articles/focus/focus.htm

No point having sharp glass if it can't be focused correctly and repeatably.

I think still lens manufacturers have to face the fact that auto focusing - a feature that nearly all lenses rely on, is inadequate for high resolution DSLRs. What I would like to see are lenses with focusing scales and throw of an UP, MP or Cooke.
 
Pawel Achtel said:
There is a good article on related matter of focusing here:

http://www.slrgear.com/articles/focus/focus.htm

No point having sharp glass if it can't be focused correctly and repeatably.

I think still lens manufacturers have to face the fact that auto focusing - a feature that nearly all lenses rely on, is inadequate for high resolution DSLRs. What I would like to see are lenses with focusing scales and throw of an UP, MP or Cooke.
Click to expand...
Interesting article. Seems as though the quality of the image in the electronic viewfinder on still cameras is not sensitive enough for critical manual focus. It just doesn't have that snap of a ground glass image. This probally won't be as bad on the RED camera with its high rez viewfinder.
 
chuck colburn said:
This probally won't be as bad on the RED camera with its high rez viewfinder.
Click to expand...

Correct. For focusing, I actually prefer the RED LCD screen from the VF, just personal preference. But after playing with Master Primes fully opened on Red One, I can certainly conclude one thing: WE NEED LOOOOOONG FOCUS THROW.

And, this is what most still glass is lacking.
 
Not ever having looked thru the V/F on a RED camera, how does it compare to oh lets say an Arri 435 or even a 235 for focus snap?

thanks,
 
As I mentioned in this thread (below), a 10x zoom is absolutely vital to the DSMC program, IMHO.

http://www.reduser.net/forum/showthread.php?t=23736

9 out of 10 times, when I think I have achieved focus on the 5D2, I will punch in 5x or 10x on the focus-assist zoom and learn that I was WAAAAY off. It's such an incredibly useful tool that it would be impossible to overstate its value.

Obviously, with moving subjects, it becomes less useful, but it's useful for shots that are more locked off in nature, and at least guarantees that your shot starts out in focus. :)
 
Tom said:
As I mentioned in this thread (below), a 10x zoom is absolutely vital to the DSMC program, IMHO.

http://www.reduser.net/forum/showthread.php?t=23736

9 out of 10 times, when I think I have achieved focus on the 5D2, I will punch in 5x or 10x on the focus-assist zoom and learn that I was WAAAAY off. It's such an incredibly useful tool that it would be impossible to overstate its value.

Obviously, with moving subjects, it becomes less useful, but it's useful for shots that are more locked off in nature, and at least guarantees that your shot starts out in focus. :)
Click to expand...

This brings to mind the fact that most still camera footage scales are mass produced to a given standard. Since the ZF lenses are intended for a still camera this scale does not have to take in individual variances of one lens to another. If I were to go the still camera lens route I would one, make sure the flange focale depth of the camera is spot on and two make sure every lens agrees with that standard. Then I would check the footage marks of each lens to see if they agree with a tape measured subject distance. This is standard practice when preping a film camera package. If the marks on the lens barrel don't agree with the measured distance then you make your own footage scale with lens tape and ink pen.
 
Unless using cine lenses I don't even want to look at the markings at all... I would hope the ZF's are accurate but I am not expecting them to. What I am concerned with is how long the focus throw is and how much longer my FF makes it... then if it is long enough.

I am hoping that RED will make little 1080 LCDs since the bomb EVF is supposed to be 1080, though it was never pointed out if it was native 1080 or simply takes a 1080 signal... though I would expect it to be native, even if it sounds quite hard to cram so many pixels in such a small screen. Just cause it is Red we are talking about.

An 8 or 9 inch 1920x1080 LCD would be sweetnes incarnated since 1080 is all I am hoping to put out in the end. However the price would be insanity incarnated so I really have no clue what the solution will be.

We shot a short with a Carrion (9" Panasonic equivalent) and Nikon lenses... focus was dictating my shot selection in the editing bay... I cursed so many times, even when I was expecting it. It wasn't so much the monitor as the focus throw... often we had to deal with less than an 1/8th of an inch on the focus ring, back and forth, tons of movement... ZF's have significant longer throw, especially when you get the macros (where the heck is that thread!). So I swore I'd rent super speeds... just for focus. But if we could own for $500 more then I am forced to look into it. Perhaps we can shoot a few pages before the return policy is a gonner... is there a return policy? lol
 
But you focus puller needs footage marks he can count on. Mayby not for your current project, but if in the future if you have a full camera crew you will. Macro focus will always have a shallow depth of field (in front of the lens) but a deep depth of focus (behind the lens) resulting in more lens travel.
 
I am not sure if I understand, all I noticed was that the macro ZF's had longer throws. ?

I will have an excellent focus puller and I am sure he will do exactly what you said about making sure the marks are accurate or making his own with tape.

I wish you had used the ZFs so you could tell me what your personal opinion was... hehe... for free! :)
 
misleading macro focus throw

misleading macro focus throw

Let me clarify something here:
Macro lenses in the cine world have longer focus travel because they focus much closer. Normal focusing marks(those above 9x the EFL) are actually closer together than non-macro lenses so the lens can achieve closer focus for a given rotation. Macro lenses are intended for, well, macro work so there is much less concern about the normal focusing distances. Aside of normal distance marks being closer together there are fewer of them and they are not as precise.
Just my 2 pennies
Jacek Zakowicz, OptiTek
 
What he said. An since macros tend to be somewhat longer focale lengths to give you some working room between the lens and the subject and to make it opticaly easier to achieve a flat field the lens has to extend (travel) further the longer the focale length.
 
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