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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 :)

NAB PL Mount Lens Explosion

Matthew Duclos said:
It's basically a super wide lens with a precise ffd setting that you can use to adjust back focus on a red. I'll have some pics shortly. Won't be as precise as a micrometer diascope but it's cheaper.
Click to expand...

I see, it's a fixed focus standard as it were. So you still have to use an autocollimator or such to present a source of infinity to it.
 
Amazing

Amazing

What is fascinating is that the entire industry is changing because of RED. All the established companies are racing to come up with Lenses that work with RED, or RED equivalent cameras.

And the Lens Tests section of REDUSER is the best source information about new lenses for digital cinema on the web.

Have fun at NAB 2009.
 
Red Null

Red Null

For an amazing back focus demo, check out the UniqOptics diascope at their booth.

This is a must have accessory!!!!
 
UniQoptics

UniQoptics

Spent some time at UniQoptics today with Evin talking to the main guys. The back focus / FFD tool was pretty impressive, they even have a kit that includes what appeared to be a field collimator. Different versions of the kits started at just under $3K and went up to around $7K with all the bells and whistles. I will leave it to Evin, Matt Duclos and the guys at UniQoptics to break it all down in greater detail but it looks like a solid value proposition to me.

Bottom line - buzzed focus in 4K is glaringly obvious and for the foreseeable future, not fixable in post.

The lenses are still prototypes, they are going to do a short run with upgraded glass in the next couple of months. They might bring them to Evin for SALT but the owner was understandably reluctant to "sell a wine before it's time".

They have industry credentials, a glass supplier and (even on the prototypes) solid mechanics. Jury is still out on what the shipping versions will be like but I can't say I'm sorry to see more players in the PL lens space. Maybe I can get them to make my dream zoom lens for handheld...

BTW, the Fujinon 18-85 T2 is a nice bit of kit but at an estimated $75K I'll be curious to see how many they can sell, even to rental houses.

Cheers- Blair
 
Looks like we have 3 new options for back focus adjustment:
1. UniQoptics Diascopes
2. IB/E null lens
3. FFD by Denz

Anyone care to do a full review of all 3?
 
digitalfx said:
Looks like we have 3 new options for back focus adjustment:
1. UniQoptics Diascopes
2. IB/E null lens
3. FFD by Denz

Anyone care to do a full review of all 3?
Click to expand...

Feel free to stop by uniQoptics in Simi Valley, CA for a demo. Bring your camera and we will check your back focus for free. Call ahead to ensure a qualified technician will be there... For a limited time only.
 
The price on the Red Null has yet to be set, but we're working to make it as reasonable as possible. It's definitely going to below the other options out there. I'll shoot a video showing how easy it is to use and get it up on our blog as soon as possible. In the meantime I will tell you that as tested it is a very accurate device. Five micron pitch accuracy is within the Nyquist limit of the RED sensor, meaning that it is as in focus as you're ever gonna get. And so simple to use a caveman could do it. We will have them available in volume soon. The design is currently for PL mount, but it is possible to crease models for other mounts.

Let me say that I have been consulting with some of the other collimating device makers for quite some time now and wish them all the best. I think that there is a place for their designs as well and i know that they are always working to improve them. No matter which device you decide upon, I firmly believe that every RED owner should have one of these units in their kit. After looking at the Red Null at the REDuser party, Jim said we should set our goal to at least 3000 units. From his lips to God's ears, unless that's redundant in the world of RED.
 
I'm very interested as well.

"so simple to use a caveman could do it" -- Finner will be pleased.
 
Blair S. Paulsen said:
BTW, the Fujinon 18-85 T2 is a nice bit of kit but at an estimated $75K I'll be curious to see how many they can sell, even to rental houses.
Cheers- Blair
Click to expand...

$82,900, I was told by the Fuji rep. The image circle is around 28mm (with no intention to modify to cover Super 35 full frame or Epic 5K). I have to wonder if their mind is set on Sony F35 only. The R&D costs for all four huge and extremely well made zoom lenses for the very niche of a niche market?
 
The Genesis / F35 sensor is Super-35 in size, more or less (similar to 3-perf 35mm Full Frame) -- the active sensor area is 23.622 x 13.2842mm. That's a 27.5mm diagonal, which the Fujinon PL-mount zoom should cover, otherwise why else make the lens?
 
Mitch Gross said:
The price on the Red Null has yet to be set, but we're working to make it as reasonable as possible. It's definitely going to below the other options out there. I'll shoot a video showing how easy it is to use and get it up on our blog as soon as possible.
Click to expand...

Thanks, please notify me when I can order.
 
I'll be sure to let everyone know! We'll try to get the video up on the blog tomorrow.
 
David Mullen ASC said:
The Genesis / F35 sensor is Super-35 in size, more or less (similar to 3-perf 35mm Full Frame) -- the active sensor area is 23.622 x 13.2842mm. That's a 27.5mm diagonal, which the Fujinon PL-mount zoom should cover, otherwise why else make the lens?
Click to expand...

That's what I understand. But it still doesn't make business sense to make FOUR highly sophisticated zoom lenses for the Genesis and F35 only.

In my not-so-humble opinion, ignoring the RED Epic 5K is a mistake. Next generation RED cameras are going to replace film even more. Big productions are going to embrace it so that rental houses will be willing to mate the Epic cameras with expensive lenses.
 
I believe the Fujinon zooms cover almost every existing Super-35 digital cinema camera out there -- F35, Arri D21, RED ONE, Phantom HD, not to mention 35mm film cameras. And I suspect that they were made primarily for the Sony F35, just to continue a long partnership of providing optics for Sony cameras. But they would work on any number of other Super-35 cameras.

I think they are just betting on the continued use of the Super-35 format, which is a fairly safe bet even if EPIC enter the marketplace and creates a need for optics that cover more than Super-35. I suspect that companies like ARRI, Panavision, and Sony are going to stick to Super-35 sensors and optics for a long time.

This does bring up something we haven't really talked about, which is the lens coverage for zoom lenses like the Ang. Optimos, the Cooke zooms, the Zeiss Master Zoom, not to mention the two RED zooms -- how many of them will cover beyond Super-35?

And ultimately, it seems silly to be designing new lenses that cover halfway between Super-35 and FF35 just to barely get away with covering the 5K area of the 6K Monstro sensor. I mean, what sort of format is that? Super-35-Plus-A-Litttle-More? If one were really designing lenses for the future EPIC cameras, then the lenses should cover the full FF35 Monstro sensor, not just 5/6ths of it. If you're going to fault Fujinon for not designing their lenses with the EPIC Monstro sensor in mind, then why not fault RED for creating new lenses that don't cover it either? The new RED lenses just cover the Mysterium-X sensor area. If Fujinon is confused by this 5K format, who can blame them?
 
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