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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 :)

Optitron 2 - experiences

Thanks. I can subscribe to all these observations. specifically the one that what makes you happy or not with this product, is if you know which lenses it works well with and which don't. EF L lenses generally seem to work very well. Others, can be a bit of miss and hit. Sigmas: unfortunately my verdict is: test your copy.

But given those constraints: it is superb.

Thus i urge anyone with experience in controlling lenses theough the RedCommandoProtocol to update the lens database.

thanks for the writeup

It would be great if you added your lenses to this thread:

http://www.reduser.net/forum/showth...F-Nikon-mount-with-remote-control)&highlight=
 
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I will try to get around to a writeup, but these are very busy times.

I would say that with the right lenses it just works, and to me the most informative thing was to test it with a bunch of different lenses.

here's the Canon 16-35 II USM 2,8


https://vimeo.com/141331930
 
I must excuse these videos, I initially just recorded them for me to have a reference of the lenses, but I see that this info can be useful for others.
They're not made to look good. I just had a couple of hours in a shop and had to run around to use the lenses where they were tied down on display.
Here's the 24-70 2,8 II USM on its way:


https://vimeo.com/141332100
 
This is exactly what people need to see! Good job!

Stephen
 
To revive an old thread.
(Thanks Gunleik).

Just looked at these videos and one thing it confirmed.
The level of BREATHING on stills glass is just unacceptable.

I think it's safe to say this kind of system won't be replacing cinema glass any time soon.
 
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Hah.

I don't think I have ever seen anyone claiming still-glass beats film-glass in all situations ever.
It's more a matter of finding things that work.

That said...

Glass has always been breathing, and old glass still will.

One of the things I loved with H8ful Eight, was how the breathing was used in part of the cinematography.

Lots of the 65mm stuff has been done on what is essentially stills-glass.

Breathing is a restraint, if you shoot in a way that makes breathing a restraint (and I am not saying you should not, but...)
what has made film look like film and the "rules" we are taught, are more like workarounds for constraints, than rules from a Film Deity.
 
Gunleik Groven said:
Hah.

I don't think I have ever seen anyone claiming still-glass beats film-glass in all situations ever.
It's more a matter of finding things that work.

That said...

Glass has always been breathing, and old glass still will.

One of the things I loved with H8ful Eight, was how the breathing was used in part of the cinematography.

Lots of the 65mm stuff has been done on what is essentially stills-glass.

Breathing is a restraint, if you shoot in a way that makes breathing a restraint (and I am not saying you should not, but...)
what has made film look like film and the "rules" we are taught, are more like workarounds for constraints, than rules from a Film Deity.
Click to expand...

No looking at film deities here.
Just really struck by just how much breathing is going on in these videos.
This is not a little bit. It's not theoretical or about rules. It's really considerable and quite noticeable.
 
C. Burkhart said:
No looking at film deities here.
Just really struck by just how much breathing is going on in these videos.
This is not a little bit. It's not theoretical or about rules. It's really considerable and quite noticeable.
Click to expand...


haha
yes I 100% agree


I guess it's kind of a gut-reaction from back when I was fresh in "everything", and had a shot at buying a set of MK III SuperSpeed set 10k USD, and I was advised here to not do that, because they breathe like a seasoned smoker and that super speeds are so soft at the edges that no-one would ever use them, as: Only UltraPrimes and Master Primes fulfilled the high modern standards of 2007.

Not even noticing that at the time, I preferred Cooke Panchros that vignette and breathe like hell, when renting.

I guess I still kick myself in the ass weekly for not figuring out that:
Hey, I really love these lenses, so what the royal f*ck!

Not to mention the great business opportunity in that offer...

The RED1 I bought at 22k USD back then, now has a sales value of... not-so-much

A set of MK III Supers on the other hand... :)
 
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Gunleik Groven said:
haha
yes I 100% agree


I guess it's kind of a gut-reaction from back when I was fresh in "everything", and had a shot at buying a set of MK III SuperSpeed set 10k USD, and I was advised here to not do that, because they breathe like a seasoned smoker and that super speeds are so soft at the edges that no-one would ever use them, as: Only UltraPrimes and Master Primes fulfilled the high modern standards of 2007.

Not even noticing that at the time, I preferred Cooke Panchros that vignette and breathe like hell, when renting.

I guess I still kick myself in the ass weekly for not figuring out that:
Hey, I really love these lenses, so what the royal f*ck!

Not to mention the great business opportunity in that offer...

The RED1 I bought at 22k USD back then, now has a sales value of... not-so-much

A set of MK III Supers on the other hand... :)
Click to expand...

I am quite sure that Jacek did a great job with the elements involved, however I think that unfortunately it's a flawed model if the lenses themselves have this limitation from the beginning.

Obviously, there are uses for EF mount lenses as they are a defacto standard today. However, I think this idea of using focus by wire in this way has been surpassed by Canon themselves with their DPAF being so good. So many people have gone back to Canon bodies themselves with a touchscreen for pulling focus or just let it do the job on it's own.

Personally, when looking at your videos, they reminded me why I liked the Schneider Xenar III's, which are steal on the used market today. Really, they breathe so little that they just say cinema to people without consciously knowing why.

I also like the vintage stuff, and my Cooke 20-100 is my baby. It's just got soul.
Something that, unfortunately, I just cannot say about most Canon lenses.
 
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" It's just got soul. Something that, unfortunately, I just cannot say about most Canon lenses."

Monstro has found the soul in my CN E 85mm T1.3.

I am going to let it snoop around the rest of them and see what it digs up.
 
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scott devitte said:
" It's just got soul. Something that, unfortunately, I just cannot say about most Canon lenses."

Monstro has found the soul in my CN E 85mm T1.3.

I am going to let it snoop around the rest of them and see what it digs up.
Click to expand...


Actually, I was referring to many Canon still lenses, which is the target market for Jacek's work, not the CN line, which I have no experience with.
 
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