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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 :)

New zoom...

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Prime lenses will be sold as a set to begin with... late in 2008 they will be sold individually. Our initail pricing is predicated on sets.

Jim
 
expect of course for the 300mm prime.. which is finished and being manufactured.
 
Incredible

Incredible

Hi Red team,

I couldn't thank you guys more for making my future brighter. As a film student,
who is just finishing up the school, there couldn't be any better
tool than yours to arm myself with. Just hoping to have mine before
this September, so I could do a lot of tests with all the available equipment
at school. Fingers firmly crossed.

Best regards,
 
We hope Red can sell as much as possible. There are different scopes. The 18-50mm + 15mm + 85mm will shine where the primes set won't and vice versa. Different ballparks and shooting work require different investments.
 
That's a smart move. The two zooms will make up an excellent starter package. Can't wait to test...

Matt Uhry
www.mattuhry.com
 
Hmm

Hmm

So this is a question more for the professional cinematographers here, but if you bought a prime lens set and had an 18-50mm zoom lens for starters, would you still want a 50-150 zoom lens too? Isn't that kind of redundant? I mean I know from what I've read that supposedly you get the best results by using a specific lens for a specific purpose, i.e. a 15mm lens, a 25mm lens, a 50mm lens, etc. But would you really notice that much of a difference on a camera like the RED if you were using two zoom lenses, an 18-50mm and a 50-150mm? Just curious. This is the area I'm foggiest about.
 
I'm not a professional cinematographer here at all but I'd guess -- or still better, I'm saying that every tool has its own profile. You need to take in consideration important parameters indeed like convenience, DOF you wish, lighting requirements you have, aperture you need, focal length you want, shotlist taking perspective, scale and composition choices (the most difficult and relevant factor to the great cinema IMHO -- director's work) with direct implications regarding some issues as for instance non breathing requirements or not going so far, etc, etc, etc.

EDIT -- A zoom is not a prime and vice versa. Hope this helps!
 
Jonathan,

The main reason for purchasing primes would be a possible improvement in image quality over a zoom in addition to the benefits of a faster iris / T stop and possible breathing improvements.

Assuming the prime set will be T 2.1, aside from the 15mm T 3.1, you will be gaining a stop and a half of light if you need it. That extra stop and a half translates into 3/4 more light sensitivity when wide open.

So, if you're really choking for light in a particualr setup, you may just be saved by having the faster prime set.

As far as whether or not you need the 50-150mm zoom, I'd say yes, without a doubt. The average Cinematographer's lens set consists of focal lengths from 18-85mm at the minimum. Many directors will ask for an 85 or 100mm lens for particular shots.

That's not to say that you can't get by without lengths longer than 50mm's, but personally, I enjoy long lengths for particular shots that require a very shallow DOF.

It really depends on your liking. Grab a 35mm slr still camera from your local photo shop and test out some of the Nikkors to see what you feel comfortable shooting with and see fit to your particular shooting style.
 
Over coffee this morning I thought how fantastic a 55 - 150 Red zoom would be... half an hour later I go online... T stops, new 50 - 150 and Peter Jackson's extraordinary statements...
This is all going to be very, very interesting. Can't wait.
The impact of RED on our industry will only be fully understood in a few years time.
Louis Lumiere must be sagely nodding with respect... somewhere
 
Nice, thank you, that's good advice. I was talking to my friend who has no experience in cinematography but is a semi-professional photographer and he was reminding me (we learned this, but I had in my fatigue forgotten) that the prime lenses would be faster so it would give me more flexibility in lower light situations, and that does seem to be a really useful tool potentially.

I'm just wondering if I might be able to get away with two zoom lenses, the 18-50mm and the 50-150mm, until perhaps another year down the road at which point I'd have made some money either shooting my own stuff or offering my camera equipment as an operator (I don't think I'd have the skills to be a DP but I could know how to use the RED itself and work with a DP), then I could buy the prime set, too. But now that you've explained that as you have, I'm not so sure, maybe it'd be best to just go ahead and buy as many lenses as possible upfront to maximize the flexibility of my package and figure that with that much equipment flexibility I would be able to make the money back in time, anyway. It does make sense why the different tools would give you a lot of different options.
 
dewaldaukema said:
The impact of RED on our industry will only be fully understood in a few years time.
Louis Lumiere must be sagely nodding with respect... somewhere
Click to expand...
Totally agreed but don't forget that was there where all began...
 
Interesting Zoom choice, we were talking about a 50-150 a month and a half ago and now here it is. Nice to see Red's still listening :) much appreciated!
 
Though perhaps looking at Alexanders comments there had already been something hinted at, perhaps during NAB that it was coming.
 
Jannard said:
We are working on a new zoom lens... the 50-150 f2.8 (T-3). It should be ready this year.

I expect that we will still be able to update the camera status mid-June.

Jim
Click to expand...
Sorry, got my knickers in a knot with the threads.

Over coffee this morning I thought how fantastic a 55 - 150 Red zoom would be... half an hour later I go online... T stops, new 50 - 150 and Jackson's extraordinary interview...
This is all going to be very, very interesting. Can't wait.
The impact of RED on our industry will only be fully understood in a few years time.
Louis Lumiere must be sagely nodding with respect...
 
This is great news, Jim. Thanks for getting this thing out the door this year, too.
 
Emanuel said:
Totally agreed but don't forget that was there where all began...
Click to expand...
More interestingly Lumiere's invention was a portable motion-picture camera, film processing unit and a projector, the Cinematographe.
Two of the three necessary components is the neatly packaged RED/Apple system, and with the NAB announcements about a 4K RED projector in development...
Louis would not just be nodding, he would be green with envy...
 
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