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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 :)

FINALLY!!! Got my Canon mounts and just tested the hell out of it!

Hi Ketch,

Thanks for the reply, came down to India on urgent personal family issue and could not post earlier as I was not able to access the net properly.

Please do get in touch when you are next time in Dubai, would be glad to catch up.

Yusuf Thakur
VFX,Dubai.


Hi Yusuf,

sorry we didn't get to meet in any of my Dubai trips, but I promise we will next time... ;)

Indeed, this is the market, and this are the times in which we are today, and He/She whom does not adapt, then remains left behind.

One must always take advantages of new technologies, and new ways of expressing one self artistically, and also in conducting business.

Of course when talking about business, that depends what the business is, and most importantly whom the clients are, and what are their specific demands.


But, again to each is own, and this goes not only for the individual professional but also for the individual piece of gear.

I have been using Canon glass for as fa as I can remember and have used some that most of you guys never even seen come to market,
yet I have a place for Canon 35mm STILL glass, as I have a place for 645 STILL glass, and of course a place for the various Cinema glass... ;)

Even so there is the exception, and the few which like many of us here, experiment with one and the other, none will replace each other, NONE!!
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Mark Toia said:
To be honest... I doubt I'd use these lenses much in the world I work in, Big crews, with big gear, big shots, cranes, heads, Mo Con etc... forget it.
But for simple arty jobs, were you want to travel around the world with a back pack shooting art, Yes please.
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Thanks for all the real world tests and posts Mark. Me and my associates findings with Canon lenses on Epic roughly parallel what you've posted. I have a huge kit of Canon L series lenses I use on my Epic cameras and my 5D MKII. With Red One I used my kit of good Nikon lenses almost exclusively (28 of them), with the exception of my stock Canon FD 150-600 (Century PL mount only conversion). I can't wait to test all those Nikon lenses out on Epic when the new Red Nikon smart mount is available.

Your comment I've quoted above points out the diversity of the motion media industry. There's a huge percentage of Epic, Scarlet, and Red One owners and users whose work involves exactly the opposite of "Big crews, with big gear, big shots, cranes, heads, Mo Con". That would be the aggregate mobile EFP style, mobile hybrid style, and small indie cine style industries. I'm one of those. For our corners of the industry, the camera/lens/accessory (or lack of accessory) setups you've been testing are basically very close to the streamlined mobile setups we've been using on Epic for our normal work for slightly over a year now - high profile work, but not a lot of publicity about how its been done. As we all know "Horses for courses"...

Thanks again for taking the time to test out these Canon lenses, and then give straightforward feedback on your findings. Very much appreciated by many of us here! In days past I would have stepped up to do the same thing here, but work life has been incredibly busy and complicated this past year.

Cheers Mate ;)
 
Steve Gibby said:
Thanks for all the real world tests and posts Mark. Me and my associates findings with Canon lenses on Epic roughly parallel what you've posted. I have a huge kit of Canon L series lenses I use on my Epic cameras and my 5D MKII. With Red One I used my kit of good Nikon lenses almost exclusively (28 of them), with the exception of my stock Canon FD 150-600 (Century PL mount only conversion). I can't wait to test all those Nikon lenses out on Epic when the new Red Nikon smart mount is available.

Your comment I've quoted above points out the diversity of the motion media industry. There's a huge percentage of Epic, Scarlet, and Red One owners and users whose work involves exactly the opposite of "Big crews, with big gear, big shots, cranes, heads, Mo Con". That would be the aggregate mobile EFP style, mobile hybrid style, and small indie cine style industries. I'm one of those. For our corners of the industry, the camera/lens/accessory (or lack of accessory) setups you've been testing are basically the streamlined mobile setups we've been using on Epic for our normal work for slightly over a year now - high profile work, but not a lot of publicity about how its been done. As we all know "Horses for courses"...

Thanks again for taking the time to test out these Canon lenses, and then give straightforward feedback on your findings. Very much appreciated by many of us here! In days past I would have stepped up to do the same thing here, but work life has been incredible busy and complicated this past year.

Cheers Mate ;)
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I just had a couple of days off... So I had a chance.

Better to be working than not mate.... :) Go hard
 
This is so exciting. I just got my allocation for both the Modular Assault Plate and Ti Canon mount for our Scarlet today. I'm not sure if I'm more excited for this mount or our Red Pro Primes.
 
I know what you mean. Is it me or does the lens seem to have a bit of a curve/bend downward to it?

Scott Crawley said:
Zoikes! That looks like an awful lot of stress on the mounts at the lens/extender! Is that a 2x AND a 1x on there? Is your Red mount Ti?
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Mark Toia said:
The Red pro primes are great!! But to bloody big and heavy! Like the master primes. But still great glass!
You cannot beat PL glass but canon glass certainly did impress me.
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You can definitely beat PL glass... after seeing Canon lens footage... my clients that normally wanted RED Pro Primes before don't give a damn about it anymore. The RED Pro Primes maybe sharp... but they look videoish. Thank God I don't own them anymore. Even more they rent for too low on the market. I can rent five Canon L Primes for the same money as RED Pro Primes.

Thank you for posting this thread Mark. Very informative.
 
I just shot a huge epic job and majority of it was shot on the canon glass for full cinema release...

All I can say it WOW! Used PL glass as well on a second camera. Cannot see any difference between the the shots.

Here is a sneaky couple of shots...


99years_01.jpg
 
Thanks Mark for some nice tests. In terms of image quality the canon lenses stand up well. There are many situations, such as wildlife, where the master primes are too short or too heavy to be carried in the field. Canon glass works great.

I am particularly impressed with the new Canon 70-200 f2.8 L IS II USM lens. It works great handheld as well as with TCs. The Image Stabilisation is great for filming as well. My views: http://www.indiawilds.com/diary/canon-70-200-f2-8-l-is-ii-usm-review/

Last week I was in Sundarbans in India and was in the midst of a storm. I had some amazing footage but yet to edit. For big studio guys, it may be too much of a problem handling the canon lenses and missing focus marks etc. But for us small three member crew shooting and filming wildlife, canon lenses and a zeiss here and there, is the way to go.
 
Mark I'm a new Scarlet owner (on the way) and on a very tight budget. It's a Canon mount so I need your help to recommend 2-4 lenses I can buy to start. Doing documentaries and interviews. Any details you can spare will help me along! Thanks
 
Garo Nargiz said:
Mark I'm a new Scarlet owner (on the way) and on a very tight budget. It's a Canon mount so I need your help to recommend 2-4 lenses I can buy to start. Doing documentaries and interviews. Any details you can spare will help me along! Thanks
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I would say a good place to start is the Canon EF 16-35 f2.8L ll , Canon EF 50mm f/1.2L and the Canon EF 85mm f/1.2. For run and gun I would get the Canon 24-70 f/2.8L ll and the Canon 70-200 f/2.8L IS ll.
 
John Galeano said:
I would say a good place to start is the Canon EF 16-35 f2.8L ll , Canon EF 50mm f/1.2L and the Canon EF 85mm f/1.2. For run and gun I would get the Canon 24-70 f/2.8L ll and the Canon 70-200 f/2.8L IS ll.
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Garo the Canon EF 16-35 f2.8L II it is not parfocal. Just an information that you need to know.
 
Mark Toia said:
The 70 - 200 F2.8 was the over all winner for ZOOMs. It just did everything good. Sharp everywhere, AF system work well (considering its a ZOOM with lots of glass to spin around)
Sharpness, Easy 9 out of 10 even with Variable ND's on.
The lens stabilisation function is what go me... Un believable.
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mark wich exact model of the 70-200 F2.8?

this one

http://www.bhphotovideo.com/c/product/680103-USA/Canon_2751B002_EF_70_200mm_f_2_8L_IS.html

or this one ?

http://www.bhphotovideo.com/c/product/91680-USA/Canon_2569A004_70_200mm_f_2_8L_USM_Autofocus.html


thanks

g
 
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