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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 :)

Lens Package Options for Epic (1/2011)

Stephen,
I think this is a good point. I had been debating adding the 24mm f1.4 to the set. Is it sharp wide open? I own a Nikon 50mm that i consider unusable at f1.4.

James,
I have been shooting with Nikons on my RED for the last 2 years, and I'm pretty tired of the reverse focus gear. And since the Epic will be shipping with a working Canon mount first, I'm ready to make the switch.
 
We absolutely LOVE the 24, 35, 50, and 85mm Canon L-glass wide open. (Oh, heck, we love all of our L-series glass wide-open.) In point of fact, I'll bet we shot 1/2 of our film using these lenses wide open in our new film, "Terminal." f1.4 was just fast enough for us to shoot interiors with absolutely minimum fill and practicals with only 15 watt bulbs (to keep from blowing out). We think all of these lenses are just super performers wide open. Remember, these are FF lenses, so edge sharpness is superb for our purposes.

The downside, of course, is that your depth of field is EXTREMELY narrow, especially for interior shots (when you're right up against the subjects), and that makes focus a real bear. But when you're on, you'll know it.

Like I said, I tend to shoot just about everything with a 35, 50, and 85mm lens anyway, so I'd get the 35 (we find it a nice compromise between too close and too far), but the 24 is a great lens, too, and is especially amazing for jib shots and stabilizers.

Trust me. . . you WILL need one of these lenses if you ever shoot at night. f2.8 is just way too slow if you don't want to bring a host of lights (which will add a lot of cost and take a ton of extra time). We were unable to use our 2.8 lenses on any night shots. But, then again, I loathe noise with a passion, so that could be part of our issue. We were able to use these lenses in very dark settings and not have any red on the lower goal post.

Stephen
 
The 24mm 1.4 II is sharp. The thing to look out for is coma when it's wide open. I've been told that the new Nikon G 24 1.4 is only marginally better.
 
Coma is really not an issue at all with the 24mm on the RED. We have never found ANYTHING objectionable with that lens. Period. Now, if it is for you (or, rather, Julio), I can't say.

Stephen
 
The link was mainly to clarify what is coma. And I probably should have said COMA is not what you want in the corners if you want stars to look like stars.

Probably not an issue for most people at any time given corner distortions are usually not too important. And from the test shots it is mitigated by the smaller APS/S35 sensor and stopping down. I wasn't trying to make a lens recommendation or diss anyone's 24.
 
Updated

Red Pro Zoom 17-50- $6,000
Duclose/Nikon PL 80-200- $3,500
Duclose/Tokina PL 11-16- $3,500

updated total-$ 13,000
 

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I'd like that set myself, Keith. . . just don't have $32,000. I think we have about $12,000 in all of our Canon glass. That extra $20,000 would have killed us.

And don't worry, Mr. Wake. . . I wasn't offended by your comments about the 24mm. I was just making a point to Julio that we have never experienced any problems using ours. Again, YMMV.

Stephen
 
Stephen Pruitt said:
I'd like that set myself, Keith. . . just don't have $32,000. I think we have about $12,000 in all of our Canon glass. That extra $20,000 would have killed us.


Stephen
Click to expand...

That's exactly what they're doing to me and also why I'm seriously thinking about selling the RPP (for the right offer) and replace them with Canon L series primes.
 
From a speculative stand point for now. IF I had the option (for mainly narrative filmmaking work) what prime lens package would be chosen.

UniQoptics prime set--$32,000
Zeiss CP.2 prime set-- $25,000
or Red Pro Prime set + 18mm-- $23,000

I do not have much knowledge on cine style prime lenses, hence the reason I am asking. I know UniQ has been getting alot of buzz on CML. Please advise.
Thanks to all in advance.
 
Julio Quintana said:
James,
I have been shooting with Nikons on my RED for the last 2 years, and I'm pretty tired of the reverse focus gear. And since the Epic will be shipping with a working Canon mount first, I'm ready to make the switch.
Click to expand...

Understandable. You can also add a follow focus with a reversed gear (I forgot the manufacturer).

Many seem to prefer the Nikon wide angles, as I do, but you have to get into some pretty extreme pixel peeping.

I guess the Canons come first because the focal distance is easier, or is it because Jarred has a bunch of Canons?
 
I just got the new Nikon AF-S f1.4 G primes (24,35,50 & 85mm) and all I have to say is WOW! I think the only lenses I've seen perform this well wide open are master primes. truly stunning and IMHO totally blows the Canon 1.4/1.2s away. I'l try to post some samples later tonight.
 
Evin Grant said:
I just got the new Nikon AF-S f1.4 G primes (24,35,50 & 85mm) and all I have to say is WOW! I think the only lenses I've seen perform this well wide open are master primes. truly stunning and IMHO totally blows the Canon 1.4/1.2s away. I'l try to post some samples later tonight.
Click to expand...

I'm very curious to see these tests as I already own the Nikon 17-35mm f2.8 and the previous generation Nikon 50mm f1.4 (both on your recommendation). I was planning on making the jump over to Canon mostly because of the reverse focus direction, but if these new primes are as great as you say, I might just try and find a follow focus with reverse gearing.
 
Evin, please do post samples. You are yet an other source I trust that I hear saying things like that about the new G primes. They sound like they might be a clear best still-set option with Epic once the Nikon mount is ready to hit the road.
 
Evin Grant said:
I just got the new Nikon AF-S f1.4 G primes (24,35,50 & 85mm) and all I have to say is WOW! I think the only lenses I've seen perform this well wide open are master primes. truly stunning and IMHO totally blows the Canon 1.4/1.2s away. I'l try to post some samples later tonight.
Click to expand...

I've heard raves about these lenses. In your opinion, how do they compare to the Zeiss ZF's ?

I wish they would make a 50 with a 77 mm front (I've heard rumors about an f 1.2 of that dimension??)
 
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