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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 :)

RED+cookes s4i?

Everything is about the lens. It starts there.
If you can afford the Cooke S4's, get them. If you can afford the Master primes get them.

Personally, I'm waiting for the 4 lens set from Cooke for the RED with a price tag of $80K.
 
From my experience looking at a lot of Superspeed sets on a collimator, they don't really snap into their optimum resolution of 200 lines/mm until you stop down to a T2.8. I wouldn't shoot with them wide open unless I absolutely had to. The old zeiss slowspeeds start looking good between T2.8 and T4.
 
Really Kinoeye??
 
If I remember correctly you only need about 97 lpmm to achieve the maximum resolution the camera is capable of.
 
Big T said:
Call this guy,

Stuart Rabin
FOCUS OPTICS
TEL.818.757.1007
FAX.818.757.1029
stuart@focusoptics.com
Click to expand...

Agreed - Stuart has sourced a lot of glass for us over the years. He moves a lot of inventory. Another number: 800-234-5367
_____________________________________________

Not mentioned much in this thread, but I have to chime in that my Zeiss Ultra Primes look really amazing on my Reds. I'm very happy with them and my customers are as well. They're the busiest glass in the house.

Not as small or as light as my Super Speeds, but not nearly the expense/weight of the Master Primes either. At a T1.9 I'm finding them plenty fast enough, and the sharpness and contrast play very well with the Red Ones. A little cheaper than the Cooke S4s as well.
 
kinoeye said:
From my experience looking at a lot of Superspeed sets on a collimator, they don't really snap into their optimum resolution of 200 lines/mm until you stop down to a T2.8. I wouldn't shoot with them wide open unless I absolutely had to. The old zeiss slowspeeds start looking good between T2.8 and T4.
Click to expand...

He's dead right!

MkIII's are all good.

MKI's were a touch soft wide open at f1.3. but only the 18mm and the 25mm.
MKII - 18mm was a little soft also only at f1.3
MK III's seem to have been fixed.

This does not mean that the image is unusable. its still very good.
Kinoeye is correct in saying that only shoot 1.3 if you really had too in those earlier models.

MkIII's are the ones to hunt down if you go the older Ziess direction.
Still very hard to find but worth hunting down.
We love ours. they are Razor!
 
roryhinds said:
be interesting to see how the RED primes stack up compared to the Ultra Primes at the same T1.9
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My thinking is this, I will buy the red lenses, all of them.

If they are better than the Ziess superspeeds, cookes, what ever we have, I'll sell the old stuff probably make a profit on them, Vice versa with RED.

I'm looking forward to seeing what ever RED throws at us.
 
martin.kryjom said:
I know that for rental i will use it mostlly for TV PAL, but i will also shoot some future films in cinema format, and transfering back to tape. I'm afraiid that if i use zoom it will be much softer then no zoom lenses.
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Shoot some tests and project it. Don't be a desktop cinematographer. Chances are a big chunk of feature film footage we saw on big screens over the last 40 years was shot with zoom lenses.
 
How come no one mentioned the T1.3 Elite lenses? Do they actually exist? Has anyone used them before, on film or digital? Or are they so bad that it's not worth mentioning?
 
I have used the Elites. They are very nice lenses.
 
roryhinds said:
I think the problem with Elites are they are impossible to contact and the US agent wants a 100% markup.
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That's sad. That's the only new T1.3 I can afford. Also, creatively, why do we want to shoot everything with just one brand of glass?

Hope we could do something about it and purchase them at a reasonable price.
 
HI guys
After all this discussion i have decided to buy cooke's set of 4 lenses desighned for RED

15-40 zoom - quality is very close to s4i and is quicker on 1 day jobs, i expect that this lens will work very often

50 mm- a do not like it but is a standart so is the "must" on the set

75mm - for medium closups
100 mm same....

I think it will be good set for rent and good for production. It will cover most of situations i hope.

I hope i made good decision :))
best regards
MARTIN
 
Martin, I'm sure you will be happy with that choice.
Best of luck!
Cheers,
Harry
 
Is Rouge a ruse for Red rubes?

Is Rouge a ruse for Red rubes?

I have Zeiss MkII SuperSpeeds that make an image I find very "pretty" WFO, but everyone has their own taste. For some material that look would not play, that's why god made rental houses. I heartily agree that the S4/i series is the first thing I would test for more intimate material with a lot of medium and closer shots of faces. If the boards require a wider variety of shots its hard not to love the Master Primes but due to cost and maintenience issues its hard to justify owning over renting unless you have an established lens rental clientele and lots of cheap credit.

In any case, in terms of a more modern lens with newer coatings, more inherent contrast and fewer lens changes - that won't break the bank - I am considering the new Angie Rouge zoom. The range of 30-80mm is rather odd but its relatively fast and amazingly lightweight at under 5 lbs, $20,000 USD new and due in September. Of course the real question is whether you'd be getting a bargain Optimo or if the Rouge is just a ruse to sell a mediocre lens to the RedHeads who the big boys might regard as rubes. I will be very curious to see the first tests.
 
Blair S. Paulsen said:
I am considering the new Angie Rouge zoom. The range of 30-80mm is rather odd but its relatively fast and amazingly lightweight at under 5 lbs, $20,000 USD new and due in September. Of course the real question is whether you'd be getting a bargain Optimo or if the Rouge is just a ruse to sell a mediocre lens to the RedHeads who the big boys might regard as rubes. I will be very curious to see the first tests.
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Keep in mind this is a DIGITAL ONLY lens, it will not work on 35mm cameras. So if you plan on renting, this will reduce its rental value. I find the combination of the odd focal range and this fact severally limiting, but I assume this was done to "protect" their Optimo range. Personally, I would either go with the Red 18-85 at 1/2 the price (and twice the fl), or save up and buy a "real" Optimo.
 
Shawn Booth said:
Personally, I'm waiting for the 4 lens set from Cooke for the RED with a price tag of $80K.
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I emailed ZGC about the RED Cooke set last December... the price they emailed back was $97K, not $80K, which is a discount of only $250 from what the same (non-Red) lenses sell for separately.

Has the price dropped since then??? Someone else selling them for less?

And to martin.kryjom: If you don't want the 50mm, why not then just get the non-RED Cookes you want and forget the 50mm?--the only difference, I have been told, is the color of the writing on the side. Save the $17K and get a red sharpie! :tongue:


As long as there's no discount for buying the set, I'd just as soon buy the non-Red S4/i's, I think, unless there's some other advantage, and just get the exact lenses I want.
 
My biggest problem with Super Speeds is not their sharpness (Which really doesn't get great till T3.5 or so) it's the contrast. They are very low contrast till T2.8 where they get truly crispy. This is less of an issue on the Red but it can be annoying having to correct all those WFO scenes. In comparison the T2.1 standard speed MIIs can be used and cut at pretty much all apertures without concern. All the modern lenses can be used on this way as well.
 
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