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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 lenses Sigmas?

peter roehsler said:
Sanjin is a tireless searcher and he finds amazing & interesting stuff. I never had a problem to understand his posts. He finds strange and useful things, all done in the spirit to broaden our knowledge - so please do not hit on him.
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Are you sure you are talking about the right person here?

Sanjin is that you? I think it is!
 
Thanks Peter for your kind support.

"Gmoa Keller" is in my neighborhood.

Let us meet once there for a dinner before Christmas.

Goulash and Wiener Schnitzel with RED chat guaranteed.

Sent me PM about your dinner schedule proposal.
 
Finner said:
Are you sure you are talking about the right person here?

Sanjin is that you? I think it is!
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Finner you are invited too.
 
I like Sanjin. Did I say something?
 
nyet15312131701.standard.jpg


Will there be wine und sponge cake?
 
laphroaig_scratch.jpg

Still in forums's "jail" and drinking LAPHROAIG 15 years aged like a Godfather!!!!:detective2: :w00t:
 
Back on the original topic...

It's interesting, I showed my Red to a big time DP (shouldn't say who exactly, but he DP'd one of Judd Apatow's recent bonanzas) and he held the Red Zoom and within seconds of playing with it exclaimed quizically "This is a still lense".
 
The givaway is the way the element groups move.
 
so what does all this mean in terms of glass quality?

Do you think Jim believes his lens are cinema lens?

It certainly looks sharper than still lenses.... those that have been tested so far ....
 
My understanding is that he's presenting lenses as a very affordable alternative to what's out there now. As to whether it's a "cinema" lens- isn't that determination up to the individual DP ?
 
offhollywood said:
looks like Scratch running on boot camp ...
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7 days left for SCRATCH TRY OUT test on Mac Book Pro and 12 days on Mac Pro 8 core.


Sigma lenses. I have four of them (3 zooms, one prime). Also I do not have anything about rehousing Sigma.
That's how a wide RED customer base can get entry and affordable cine PL lenses.


My idea about rehousing Leica was addressed to rehousing a high end quality
glass from Leica like Panavision did for Primo L lenses (rehoused Leica lenses by "Ernst Leitz Canada" or ELCAN).
So Panavision contracted Leica's Canadian division and now only German division is left without a cine lens production
(Leica Camera AG, Solms, Deutschland).
That's how they formed Leica Cinema GmbH in Zürich (CH).

Also it is about a concept to have one more strong argument (high-end quality cine lenses) for
the cinematography professionals who still have doubts about using digital and especially RED
for a wide range of Hollywood type productions.

And also not so much is left for a high quality cine glass rehousing but Leica should be one of the best.

So that was my story about Leica and RED.
 
The Third Man said:
7 days left for SCRATCH TRY OUT test on

My idea about rehousing Leica was addressed to rehousing a high end quality
glass from Leica like Panavision did for Primo L lenses (rehoused Leica lenses by "Ernst Leitz Canada" or ELCAN).
So Panavision contracted Leica's Canadian division and now only German division is left without a cine lens production
(Leica Camera AG, Solms, Deutschland).
That's how they formed Leica Cinema GmbH in Zürich (CH).
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Hi,

FYI Primos are not just rehoused, Panavision asked ELCAN to design a completely new lens series for them, based on their specifications (focal lenghts, speed, etc...). Obvioulsy they have the Leica look, but they are faster (for most part) and there are more focal lenghts than in the Leica stills lens series, with the same aperture setting all the way through.

Stephen
 
Stephen Williams said:
Hi,

FYI Primos are not just rehoused, Panavision asked ELCAN to design a completely new lens series for them, based on their specifications (focal lenghts, speed, etc...). Obvioulsy they have the Leica look, but they are faster (for most part) and there are more focal lenghts than in the Leica stills lens series, with the same aperture setting all the way through.

Stephen
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To join Leica Cinema GmbH in Zürich (CH) doesn't mean simply to rehouse already available still photo Leica lens designs.

It could mean something about to join development of the new line of cine lenses that are based on Leica optic standards, quality, look

and can be used mostly in 4K digital acquisition that has S35 mm DOF.

Maybe it could help a faster inroad to the main Hollywood studios to accept RED camera as a 4K digital acquisition standard in the near future.

Just my 2 cents.
 
Hi,

The important think to note is it's the mechanics not the glass that cost the money, so starting with the best glass makes sense. If it's done well the cost will be very high like Cooke S4's, Ultra Primes etc.

Stephen
 
The Third Man said:
Also it is about a concept to have one more strong argument (high-end quality cine lenses) for
the cinematography professionals who still have doubts about using digital and especially RED
for a wide range of Hollywood type productions.
Click to expand...

Hi,

Red will succeed or fail on it's own merits.

There is plenty of very good existing glass in PL mounts. In any case it's very easy to put a PV mount on a Red if anybody wants one.

Stephen
 
We ar planning to have all Red Lenses whatever were sigmas or Cooke's:gun:
 
Stephen Williams said:
Hi,

The important think to note is it's the mechanics not the glass that cost the money, so starting with the best glass makes sense. If it's done well the cost will be very high like Cooke S4's, Ultra Primes etc.

Stephen
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It could be that price range something like a Cooke or Arri/Zeiss Master Primes, but it should be in that respected high quality level and you could buy them(rental) but Panavision L Promos you could only possible to rent/hire if there are available. That's what I am talking about to build the highest quality possible lenses bettter than Cooke and Arri/Zeiss Master Primes and that after that EVERYBODY COMES TO YOU... Don't forget that Panavision starts with producing/rehousing anamorphic lenses for the widescreen projectors in 50's...etc.


Stephen Williams said:
Hi,

Red will succeed or fail on it's own merits.

There is plenty of very good existing glass in PL mounts. In any case it's very easy to put a PV mount on a Red if anybody wants one.

Stephen
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I am sure RED has ambition to stay longer in this business and what they can offer in a near future (2-3 YEARS)

is also HIGH END QUALITY GLASS.

LEICA CINEMA, GmbH, Zürich, together with Leica Camera AG, Solms, Germany plus RED 4K camera

acquisition system could be the partners that can make a future/history of DIGITAL CINEMA.

By the way Stephen you are in Zürich.

So maybe, Stephen, you could do a bridge between all of them and earn some extra Swiss francs, join a history, or... etc...

All of you have a look once more about

Sigma is very OK, but what about Leica?

And also don't forget that the first full RED features directed by Steven Sorderbergh (Guerrilla and The Argentine)
were using a lot of anamorfic lenses (mostly Panavision Primo L {LEICA based} if not all of them) because Soderbergh
is an old Panavision lens rental customer.

Think about all of those facts and make some constructive conclusions in a right way (I mean for RED and the rest of US).
 
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