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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 :)

KETCH ROSSi

Will Keir said:
But the price is so important. :)
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Indeed it is, but it is also extremely difficult to know that at this super early point in the conception of it, too many variables.


Will Keir said:
At 10k a lens I'll be your first customer. Give me a standard rental set of 5.
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It wil be extremely difficult to be able to make this "Perfect" like lenses of the future of Cinema, right at the minimum of the 10k to 20k range, if we were capable of doing 15k per lens, then we would have achieved a miracle like RED did with the EPIC, seriously.

Think about it for a second, a Master Prime like Build lens, but almost half the weight and size with 95mm front MB ring Diameter Leica like, at T1.2 Speed thru out the entire range, with constant Focus, absolutely no Breathing, no Chromatic Aberration, Color Matched, super smooth focusing, insanely precise Focus Markings, Double Barrel construction, Rubberized Focus and Aperture outer Rings for ultimate handling when used by the naked hand in all temperatures, Double Focusing Marks in Imperial and Metric, just and several other details I can't discuss right now, as are still in the Patenting process.

The world will have never been seen so clearly... ;)


PS: The power of resolution and qualities of this new Glass will mark a new age and, will be the same lenses used also by the next Explorations by Nasa and the Military, were for the very first time in History both the Military and the general public will use the same product at the same time of his conception, and not passed on to the general public by the military after they went on to something much better technologically... ;)
 
A $1200 lens will yield the same maximum sharpness results on Epic/Scarlet because the limit being imposed by the OLPF and not the LP/mm capability of the glass.
The sharpness bottleneck is not the lens in this case.
 
Les Dittert said:
A $1200 lens will yield the same maximum sharpness results on Epic/Scarlet because the limit being imposed by the OLPF and not the LP/mm capability of the glass.
The sharpness bottleneck is not the lens in this case.
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Sorry Les, but I'll have to strongly disagree on your statement, as my Master Primes, sure did projected a different image then the Canon "L" Series glass, and that of the Leica "M" Series glass or the Ultra Primes, so Sharpness has everything to do with the capacity of the lens it self, as well as the resolve power of the Sensor, but there is simply no way that a $1,200 lens will ever equal the same quality and sharpness of a 20k+ lens.


There is a process, which includes the way the lens is manufactured, cut, baked, curved polished, the amount of the actual elements their position and so many other aspects that go in to the construction of a lens, that is not conceivable to be able to build such a Perfect lens in such a low margin of cost, not Even Canon can do that.
 
KETCH ROSSi said:
Think about it for a second, a Master Prime like Build lens, but almost half the weight and size with 95mm front MB ring Diameter Leica like, at T1.2 Speed thru out the entire range, with constant Focus, absolutely no Breathing, no Chromatic Aberration, Color Matched, super smooth focusing, insanely precise Focus Markings, Double Barrel construction, Rubberized Focus and Aperture outer Rings for ultimate handling when used by the naked hand in all temperatures, Double Focusing Marks in Imperial and Metric, just and several other details I can't discuss right now, as are still in the Patenting process.
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You can call them "perfects." Do you have the funding or do you need a buyer list to get started with deposits? Time frame?
 
The optical low pass filter in a camera like the Epic/Scarlet has the job to split the image going through it into 4 separate shifted images each with a slightly different placement on the sensor. The reason for this is that the RGB color filter array that makes the color image possible on the sensor will exhibit 'color mistakes' more formally known as aliasing because the debayer method used will get tricked if the image is too sharp, causing issues with fine detail.
You can consider this low pass filter a 'blur filter' in simple terms, because it spreads out the image to cover enough sensor sites to avoid the color mistakes made by the debayer process.
So it's job is to prevent any sharper image from reaching the sensor ever. Once you reach a certain detail to match the OLPF's designed spread function, you are at a limit.
If you were able to exceed this limit, you would certainly cause the color aliasing issue. But the OLPF is the 'gate keeper' of resolution, dutifully keeping the highest resolution from ever causing the aliasing problem.
Shining an infinity sharp image on the front of that OLPF will yield no better end result sharpness.
A $1200 lens can easily resolve the meager 5 or 6K sensor resolution in a movie camera. And movie cameras have strong OLPF to steer far away from aliasing on movies, where it can be even more distracting than on a still camera image. The Nikon 800E has no such filter and the current lens's out there can resolve pixel-on-pixel-off type resolution already. It's pixels are 4.89 microns.

Just some information for you, to help understand the science behind these things.
 
Les Dittert said:
The optical low pass filter in a camera like the Epic/Scarlet has the job to split the image going through it into 4 separate shifted images each with a slightly different placement on the sensor. The reason for this is that the RGB color filter array that makes the color image possible on the sensor will exhibit 'color mistakes' more formally known as aliasing because the debayer method used will get tricked if the image is too sharp, causing issues with fine detail.
You can consider this low pass filter a 'blur filter' in simple terms, because it spreads out the image to cover enough sensor sites to avoid the color mistakes made by the debayer process.
So it's job is to prevent any sharper image from reaching the sensor ever. Once you reach a certain detail to match the OLPF's designed spread function, you are at a limit.
If you were able to exceed this limit, you would certainly cause the color aliasing issue. But the OLPF is the 'gate keeper' of resolution, dutifully keeping the highest resolution from ever causing the aliasing problem.
Shining an infinity sharp image on the front of that OLPF will yield no better end result sharpness.
A $1200 lens can easily resolve the meager 5 or 6K sensor resolution in a movie camera. And movie cameras have strong OLPF to steer far away from aliasing on movies, where it can be even more distracting than on a still camera image. The Nikon 800E has no such filter and the current lens's out there can resolve pixel-on-pixel-off type resolution already. It's pixels are 4.89 microns.

Just some information for you, to help understand the science behind these things.
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I doubt someone who's involved in the design of the world's most advanced cinema lenses would need an explanation of the science behind these things!

Fwiw, while any good lens might resolve well enough to look just about as good as the next in the center at its sharpest stop even on the Epic, at any other stop and in the corners, it's another story. Even if a lens maintains 50% mtf to the limits of a sensor, that's still only 50% mtf. And almost no lenses do. So while resolution until extinction might not increase with the next generation of lenses, at least at their best performing apertures, mtf will and so will perceived contrast. I don't think the Epic's sensors (particularly with the dragon upgrade) are much less dense than the D800, either.

Don't think in terms of resolution.....think in terms of mtf. There's more sharpness yet to come.... Whether we need it or not is the better question....
 
Will Keir said:
You can call them "perfects." Do you have the funding or do you need a buyer list to get started with deposits? Time frame?
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Funding is in place Will,

just going thru the legal, Pre-Orders will be given priority to the REDUSER Community, even before the BIG Rental companies, I will favor our Community first.


I can't go in to any details, but what I can say is that the LAB involved i the final Designing and Execution of my specifics will include several very well known and very big names in the industry and that the accumulated knowledge which will follow my lead will be an unprecedented one in the industry.

For this, plus the facts that NO expenses will be spared in the Pre work of this lenses and the fact that the amount of know how, and desire to truly have the World's best glass ever, will bring a thru revolution in in its result and how a camera will see.

This lenses will be specifically designed to take the most advantage of Digital Sensors, and the way they are built, in all components at exclusion of none, they will be built to bring the absolute highest resolutions to life, center to corner with out any fall off, sharpness, contrast, smoothness of character in the out of focus area, the design of the Blades, the material of the actual Glass, the way in which it is levigated to shape, and the shape it self, amongst many other technical designs and very specifics which I absolutely can't talk about it now, all will be taken in consideration.


Remember that what I am saying is that this Glass will surpass by far all current glass and that includes Cooke Primes, Leica Cine Primes, and even Master Primes.


But what you'll fall involve first will be its innovative and futuristic design and way the lens is actually built, and the way it fills in to your naked hand, then the way you'll see thru it is what will make you and every one else fall in love with it... ;)
 
Question?

Question?

Ketch, congratulation for venturing into the Arii/Zeiss Master Prime Territory! It’s really good that you’re going beyond that mark set by Arii/Zeiss, all the best to you! I’m sure that the people at your lab and Ferrari have the situation well in hand, especially with your knowledge of how good the Arii/Zeiss Master Prime are; and you’re direction in setting a standard for performance.

I have one question; what do you anticipate the “Image Circle” of your lenses to be? As currently described by Red the “6K Dragon Sensor”; the actual “Full Sensor” measures 30.7mm x 15.8mm @ 6K (5 Micron Pixel Size) - Full Sensor Size (30.7*30.7) + (15.8*15.8) √1139.96 = 34.5272 Ø. I would be really nice if it was around 35 Ø or better.

All the best.

Humberto Rivera
 
Humberto Rivera said:
Ketch, congratulation for venturing into the Arii/Zeiss Master Prime Territory! It’s really good that you’re going beyond that mark set by Arii/Zeiss, all the best to you! I’m sure that the people at your lab and Ferrari have the situation well in hand, especially with your knowledge of how good the Arii/Zeiss Master Prime are; and you’re direction in setting a standard for performance.

I have one question; what do you anticipate the “Image Circle” of your lenses to be? As currently described by Red the “6K Dragon Sensor”; the actual “Full Sensor” measures 30.7mm x 15.8mm @ 6K (5 Micron Pixel Size) - Full Sensor Size (30.7*30.7) + (15.8*15.8) √1139.96 = 34.5272 Ø. I would be really nice if it was around 35 Ø or better.

All the best.

Humberto Rivera
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Thanks Humberto,

but in al honesty I should have not mentioned anything, way too early... ;)


However to answer your question, current image circle on the preliminaries is set to almost Medium Format glass, for the 645 Sensor, with a ground braking "system" that cuts the image circle down from 70. Ø to 35. Øish, can't absolutely say anything more about this so don't ask... ;)
 
KETCH ROSSi said:
Thanks Humberto,

but in al honesty I should have not mentioned anything, way too early... ;)


However to answer your question, current image circle on the preliminaries is set to almost Medium Format glass, for the 645 Sensor, with a ground braking "system" that cuts the image circle down from 70. Ø to 35. Øish, can't absolutely say anything more about this so don't ask... ;)
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Ketch your worst then Jim...;)

P.S i like it =D
 
I got the adapter. Thanks bro.

My 5" LCD wobbles when I run a bit. What are you using to ensure it's completely solid? Put some kind of spacer in between?

KETCH ROSSi said:
201194_165337426937825_173614425_o.jpg
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Ketch,

Is that how you get super smooth pans over far off landscapes, mountain ridges etc... You use a tripod head with a wheel system instead of moving it by hand?
 
Will Keir said:
I got the adapter. Thanks bro.

My 5" LCD wobbles when I run a bit. What are you using to ensure it's completely solid? Put some kind of spacer in between?
Click to expand...

Most welcome Will.

That means that you have not properly screwed it in, you must apply a bit of pressure when screwing in the bolts, as you are going thru the center holes, which are threaded, and that could lead to some spacing, it takes few trials at times to get it right, no problem of course when mounting directly to the two outer holes as they aren't threaded.

My 9" is solid as a rock on it, but I also have mounted in any different ways, since we are pushing the envelope a bit on set, which is also includes tone of Fashion shots, we'll post all the different configurations here as times allows.
 
Will Keir said:
Ketch,

Is that how you get super smooth pans over far off landscapes, mountain ridges etc... You use a tripod head with a wheel system instead of moving it by hand?
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Will, the reason why I get those super smooth pans, is because even when using a Fluid Head, I make sure that the tension on the Head is properly calibrated to the total weight of the load, and that the camera is properly balanced, then it takes practice to insure that you position yourself in the right way, depending on the distance of the Pan you are going to perform.

it is funny how many Pan shots I see on Big budget movies which are not smooth at all.


But yes, fact is that having a Gear Head, and mastering it, will always allow for more precise and smoother movement than any other head, and of all the Gear Heads I love the Gearnex the most, for the Size/weight, Smoothness and of course Price ratio.

PS: I also use the Gearnex Gear Head to get those nice smooth Tilts on Portrait shots... ;)
 
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