Lenses Preferences

[Evan C Smith]

We are going to be shooting a film using a red camera, and we are wondering what lenses Red user's prefer to use with camera?

We are wondering what the main differences and pros/cons with either using the Red lenses or using Nikon lenses.

So basically just wondering what lenses work best with the camera?

 

[Shawn R]

Pros:
Nikon lenses are lighter to work with.
The lenses I use, zooms.
Well chosen still lenses will be as sharp and will not breath.


Cons:
You have to choose a follow focus that has a gear ratio of 1:1.
Lighter build means, "don't drop the Nikons"
The Nikkors don't have easely readable markings.
You have to be peticular about which lenses you choose checking to see if they breath and how sharp their focus is.


The biggest "Con" that doesn't have a work around are the Lens Markings. There are work-arounds if you are on a budget.


The Red's 1:1 focusing is awesome. In low light you will have to have someone with a focus board and a flashlight though.

 

[Tim Whitcomb]

RED PRO PRIMES rock. Period the end.

Unless you have HUGe budget and want a specific Zeiss or Cooke look...

RPP's are optimized for the sensor and sharp as all get out... we LOVE THEM

 

[Shawn R]

When it comes down to it really it depends on what your AC will work with.

There are many "for" and "against" on reduser. For the facts though you can seach out users that swear the Nikkor 85mm is an amazing lens that has the Zeiss 3d look. There are quite a few posts where people have shot on Nikkors that I have passed over and really like them.

 

[Shane Kelly]

go for the red primes unless you are on a budget. They are great lenses. The Nikons will be a PITA to work with if you are shooting a movie.

 

[Shawn R]

I will post some frame grabs later.

 

[Ryan E. Walters]

There is no "correct" or "incorrect" lens to use with the Red. The answer to your question will be best answered by your DP. Each make / series / kind of lens has its own look to it and some lenses will suit a story better then others. And then there are budget considerations to take into account as well. I'd encourage you to talk it over with your DP and get the best lenses you can that fit the story and your budget.

As a personal example- there is a project that I am working on (Corporate promo) where we will be filming some highly technical machinery- for this project it will serve the story the best by using lenses that are as sharp and pristine as possible. The lens should help communicate "high tech" and "Precision". Ideally, I'd love to use something like master primes, but the budget cannot handle that, so my next go to is the Red Primes. These are great lenses that will have the look and feel I want within the budget. This is in contrast to the set of lenses that I currently own- Cooke S2's & S3's. Those lenses have a very specific look to them- they tend to be a little warmer, and a little softer. Personally, I really like them for drama work- but they would not be a good choice for this corporate job, as the look of the lens would be fighting the look of the production.

Just my $0.02- use the correct tool for the job.

 

[Shawn R]

There is no "correct" or "incorrect" lens to use with the Red. The answer to your question will be best answered by your DP. Each make / series / kind of lens has its own look to it and some lenses will suit a story better then others. And then there are budget considerations to take into account as well. I'd encourage you to talk it over with your DP and get the best lenses you can that fit the story and your budget.

As a personal example- there is a project that I am working on (Corporate promo) where we will be filming some highly technical machinery- for this project it will serve the story the best by using lenses that are as sharp and pristine as possible. The lens should help communicate "high tech" and "Precision". Ideally, I'd love to use something like master primes, but the budget cannot handle that, so my next go to is the Red Primes. These are great lenses that will have the look and feel I want within the budget. This is in contrast to the set of lenses that I currently own- Cooke S2's & S3's. Those lenses have a very specific look to them- they tend to be a little warmer, and a little softer. Personally, I really like them for drama work- but they would not be a good choice for this corporate job, as the look of the lens would be fighting the look of the production.

Just my $0.02- use the correct tool for the job.

100%

 

[Zakaree Sandberg]

I would rent zeiss superspeed or standards. they just have a better look
zeiss ZF would be good too

 

[Rick Darge]

Lenses are the new film stock.

To my eye, Zeiss Standard T2.1 have one of the most unique looks on the Red. The pairing between the M sensor & that glass is pretty, contrasty beautiful imagery. Amazing stuff, especially since those lenses are so small in comparison to most modern glass.

If the budget is there, Cooke S4s produce the finest, warmest image I've seen on Red. To me, the closest look & feel to film I've seen with a Red.

Nikon Zeiss ZF series are really amazing for the money and you can do a lot with them as well. They have their own inherent unique visual qualities and are inexpensive to rent/own compared to cinema primes.

It's all preference really. Every piece of glass is going to bring something unique and different not shared by other brands or lens styles. The Red 18-50 isn't going to look like a Nikon 17-35 or a Zeiss 18mm superspeed for that matter. I prefer older glass myself. Old primes have a really rich, soft yet sharp look on the Red that I really have come to enjoy. But some people like their images tack sharp and pristine and for that, the RPPs seem to fill the perfect price/performance niche, that or MasterPrimes!

 

[Luis Otero]

When I rent my camera and DIT the project, I always carry with me my set of Nikon lenses. If they have rented PL lenses, and sometimes they need one that I have (Nikon), I change the mount for the adapter, and let the DP judge by himself. 99% of the times, they continue to shoot the rest of the project with my Nikons. They love them, specially the 85mm, which if f1.4. :001_wub:

I also have an old 50mm-300mm f4.5 Nikon with PL mount (I bought it from a British cinematographer), and for scenes with enough light, they always use it.

Just my $0.02...

 

[Pawel Achtel]

We are wondering what the main differences and pros/cons with either using the Red lenses or using Nikon lenses.

So basically just wondering what lenses work best with the camera?

I had a pleasure to shoot with RPPs (thanks to Paul Moss), and they are hands down better than any Nikon glass in every single aspect I can think of except the weight. But, having said that, RPPs are not heavy lenses and do not require lens support. They are sharp, contrasty, proper and modern cine lenses performing almost as well as lenses costing 5-10 times more. I think it is a no-brainer. I can strongly recommend RPPs. :thumbsup:

 

[Shawn R]

Here's a grab from a Tokina 11-16, Nikon mount.

 

[Shawn R]

Nikkor 17-55mm

 

[Pawel Achtel]

Here's a grab from a Tokina 11-16, Nikon mount.

A grab is a still. For a wide scenic shot at f/8 there is nothing wrong with still lenses for motion picture. But, horses for courses. If I was to shoot moving subject at f/1.2...f/1.6 with a still lens and rack focus throughought the take I'd be pissed...:incazzato:

The question was which lenses work best on Red One: Red or Nikons and I think it is fair to answer: cine lenses work best on a cinema camera. Sure, there are many situations where a still lens would do as good job but, in general, they are not made for that.

:beatdeadhorse5:

 

[Eirik Tyrihjel]

I absolutely LOVE the Red Pro Primes too! Incredibly beautiful images, super sharp and with the M-X sensor T1.8 is all you´ll ever need.

 

[Jeff Kilgroe]

The RED Pro Primes are awesome. My only complaint about them is they are rather large and heavy. Some people complain that they need more markings on the lens, but I don't have an issue with it, I always mark my FF wheel anyway. Definitely a great set of glass for a great price and the set is now more complete with the 18mm shipping. I almost bought a set of Ultra Primes, but held off until the RPPs came out, I'm so glad I waited.

 

[Shawn R]

I'll have agree to disagree. I will on the other hand agree with everything Gibby has stated regarding still lenses.
There is no "hands down" this or that. I will admit though that for the money if your budget allows the RPP are a good thing.

Whatever choice is made don't take it for granted that the lenses you choose won't drift cine or dslr. You have to put them on the red and test.

All my frame grabs were from the Red exported from Redcine-X. That's Nikkor lenses on a Red to be clear. Except for the Tokina 11-16, and I don't think I need to reference its beauty.

I think there are more than enough opinions here and the only thing you need to do is rely on common sense and you'll be fine.

You may want to start another thread to reference all the Red/Nikon short films and music videos that have been shot.

Someone can help me out here and post a link to the award winning short, "The Cart", that was shot with Red/Canon.

A grab is a still. For a wide scenic shot at f/8 there is nothing wrong with still lenses for motion picture. But, horses for courses. If I was to shoot moving subject at f/1.2...f/1.6 with a still lens and rack focus throughought the take I'd be pissed...

The question was which lenses work best on Red One: Red or Nikons and I think it is fair to answer: cine lenses work best on a cinema camera. Sure, there are many situations where a still lens would do as good job but, in general, they are not made for that.

 

[Ryan E. Walters]

And if you want to check out a direct comparison between Zeiss Cinema (Super Speed MKIII) and Zeiss SLR (ZF series) glass you can check out:
http://www.ryanewalters.com/Blog/files/SLR_Glass_VS_Cinema_Glass.html

 

[Rick Darge]

24mm 1/4 debayer K35 grab