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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 :)

PL mounts on Scarlet FF35 and Epic FF35

Jarred Land said:
Just wanted to clear up a little confusion, caused by use leaving the option off of the Brochure. ( sorry )

The RED Interchangeable PL Mount will be switchable between both the Epic and Scarlet FF35 Brains.

Of course, most PL lenses do not have a Full Frame image circle, so you will need to shoot in a windowed S35 mode.
Click to expand...

Great!

Well, Master Primes when shooting 1:2.40 may just cover it...I hope. I'm drooling over just a thought :biggrin:

I need to ask Zeiss about the coverage....
 
Sold!

Sold!

Ok, happy now. EPIC FF35 is what I want. Now I know that I can put Ultra Primes or Master Primes on, this is what I'll get. Done deal. All the latitude I want, and if 4K is all I get, I'm happy with that.

For features, we want 4K, S35, 13+ stops and fast PL prime lenses. Now we can have that. Very, very happy.
 
NateWeaver said:
I would think it could record anamorphic. It just wouldn't be able to unsqueeze the monitor path.
Click to expand...

i think if you use carrion LCD monitor, you could unsqueeze the footage in the monitoring path...
 
So let me get my head round this...

- with PL mount cine lenses the S35 Epic will do 100fps in 5K (but with "only" 11 stops DR and 12 bit colour space, although at Redcode 225)

- FF35 Epic will do between/roughly 4K - 4.5K with PL mount cine lenses (windowed S35 sensor) but with 13+ stops (estimated!!), 16 bit colour space and Redcode 225. Can anyone hazard a guess (or can Red give an "estimate") of what maximum frame rate this would give you in this S35 windowed mode? I'm guessing it would be more than 100fps (if it can do 100fps in 6K)?? 150fps in the windowed S35 mode would make me involuntarily spasm...

If I understand correctly the S35 Epic with PL mount cine lenses will give you more resolution (5K) than the FF35 Epic (4 - 4.5K windowed S35 sensor?), but the FF35 is giving you more DR and colour space?

I think most productions are going to want to use traditional 35mm cine lenses but the ability to knock off the odd 6K wide shot with your B camera or back-up body set up with a FF35 wide lens would be awesome.
 
FF35 scarlet close to RED ONE ? i am new user and i am confused about that, i have restricted budget but i will shot feature , i mean Is FF35 enough for feature film? , especially it give us film look footages?
Regards
 
RE Master Primes.
I just took a look at a cross section of MPs.

16mm Covers well up to Full Aperture, but slightly soft in corners.
25mm Covers Full Ap, sharp everywhere
40mm Same as above
75mm Covers up to a STILL frame, slight vignetting in corners
150mm Covers a STILL frame. Sharp everywhere.

Im assuming my 35mm STILL frame is the same as RED's FF35.

Hope that helps,
JM
 
Johnny M said:
RE Master Primes.
I just took a look at a cross section of MPs.

16mm Covers well up to Full Aperture, but slightly soft in corners.
25mm Covers Full Ap, sharp everywhere
40mm Same as above
75mm Covers up to a STILL frame, slight vignetting in corners
150mm Covers a STILL frame. Sharp everywhere.

Im assuming my 35mm STILL frame is the same as RED's FF35.

Hope that helps,
JM
Click to expand...

That's fantastic. When you say Full Aperture re the 16, 25 40mm, you mean FF35/ 35mm Still frame? So you're saying all these lenses cover FF35?
The weakest lens there - the 16mm, would have limited use in FF35 anyway.

MP
 
Thanks Johnny.. its going to be a bit of a manual experiment... some image circle specs on paper don't exactly translate in real life...
 
markp said:
That's fantastic. When you say Full Aperture re the 16, 25 40mm, you mean FF35/ 35mm Still frame? So you're saying all these lenses cover FF35?
The weakest lens there - the 16mm, would have limited use in FF35 anyway.

MP
Click to expand...

Sorry, perhaps a more useful bit of information would be this;
I'm using a Clairmont laser etched test plate in a projector to look at the various levels of coverage from these lenses. (52mm flange focal depth)
Full Aperature is a 4x3 frame that falls entirely within a 16mm radius circle.
This would include S35, Full AP 1.78, and 35mm anamorphic.

When I said STILL, that refers to a circle that has a radius of 19mm.
However, this particular chart doesn't list aspect ratios for all the formats.
My STILL frame refers to a frame that is 38mm wide by 26mm high.

I'm not a technical genius though, so your results may vary.

JM
 
mcivcik said:
FF35 scarlet close to RED ONE ? i am new user and i am confused about that, i have restricted budget but i will shot feature , i mean Is FF35 enough for feature film? , especially it give us film look footages?
Regards
Click to expand...

FF35 is a LARGER frame size than the R1, so it could almost be considered overkill...

R1 has a S35-sized sensor, which matches S35 format film.

Scarlet 2/3" has a sensor which is just barely smaller than that of S16 film.


Is anything enough for a feature? Sure! Features have been done with far less than 2/3"; it depends on what kind of look you want to achieve...

This is a creative choice once you get past the question of what you can afford.

If you can't afford FF35, use what you can afford. If you can afford FF35, use what you actually want to use -- maybe it's HDV, maybe it's FF35...


Don't look down on the 2/3" format; far more important than this choice will be the quality of the lighting and the skills of the person using the camera.

Better to have the smaller frame format and get the lighting right...

Not to mention the audio, where you really want to put your attention...
 
Hi,

FF is 8 perf which is twice the size of Full Aperature, so they will not cover. Hardly surprising as they were designed for 35mm motion picture use.

Stephen

Johnny M said:
Sorry, perhaps a more useful bit of information would be this;
I'm using a Clairmont laser etched test plate in a projector to look at the various levels of coverage from these lenses. (52mm flange focal depth)
Full Aperature is a 4x3 frame that falls entirely within a 16mm radius circle.
This would include S35, Full AP 1.78, and 35mm anamorphic.

When I said STILL, that refers to a circle that has a radius of 19mm.
However, this particular chart doesn't list aspect ratios for all the formats.
My STILL frame refers to a frame that is 38mm wide by 26mm high.

I'm not a technical genius though, so your results may vary.

JM
Click to expand...
 
Stephen Williams said:
Hi,

FF is 8 perf which is twice the size of Full Aperature, so they will not cover. Hardly surprising as they were designed for 35mm motion picture use.

Stephen
Click to expand...
Indeed, moving beyond s35 territory will also mean moving beyond PL lens territory. You can't shoot an imax feature with superspeeds.

Time to bite the bullet and take the next step into digital cinema territory. It's a good time to be alive!
 
Häakon said:
Indeed, moving beyond s35 territory will also mean moving beyond PL lens territory. You can't shoot an imax feature with superspeeds.

Time to bite the bullet and take the next step into digital cinema territory. It's a good time to be alive!
Click to expand...

I'd move on from the old PL cine lenses is there was something better. But the only alternative for the FF35 I can see at present is a set of Red zoom lenses. I can't seriously convince financiers to fund a movie being shot with zoom lenses that will probably breathe and will be way slower than our Master Primes. Am I missing something?
 
ChristopherKenworthy said:
Am I missing something?
Click to expand...

Hi,

You higlight the reason why there is little 65mm shot, there are so many more lense options available for S35 or Anaomorphic 35.
Nikon stilll lenses have been used for years for vista vision with VFX crews, that probably wont change.

Stephen
 
Hey Christopher,

No, I don't think you are. I do believe that there is going to be a little pain in the industry until that gets sorted out. I just give RED credit for being the ones to move past the boundary and say, hey, this is where things need to go. Cramming more pixels into a s35-sized chip doesn't help anyone except the film-zealots who like to spout off about how much more dynamic range and this and that they can get with their analogue medium. The steps RED is taking with sensor sizes will open huge doors for image quality concerns. Now is the time for someone to start to develop some serious glass that matches these larger sensors. I am confident someone will. Remember as well that these cameras are at least a year away.
 
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