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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...

So while we're on the topic of lenses, any word on when the prime set will be available?
 
We're not on the topic of lenses anymore. We've moved onto cars. Hello...
 
Another thing to consider other than image quality is how robust the lenses are. Cooke S4's can take an extreme ammount of punishment (being dropped from 5 ft., having sand blown on them, being slammed against walls, etc...) and they don't miss a beat. The focus marks even remain dead on. Even if a lense produces perfect images, it doesn't mean it could withstand the punishment some cine lenses see when being rented for long periods. Or if it can, it may require more frequent service. I don't know how the RED lenses stack up in this regard, but it is something to consider.
 
Sources

Sources

sparkhope said:
just got word from an LA B movie studio that owns 5 REDS. One of the execs said he loves the Cameras but can't stand the lenses. He literally said something about "crap" and moved on. What's the deal. Are these lenses worth investing in. I currently have both zooms ordered but now I'm wondering if I should hold out. What's your take. Regarding the quality of the image produced by the RED lenses? Please, if you can, focus your response on the image produced and not on the argument of bang for the buck. I concede that RED's prices are ridiculously low for Cine lenses - that's really not the point. Any comments on perceived quality, focus, color, dof, et al. would be greatly appreciated. Thanks.
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Not disrespecting you or your source but you should really refrain from that kind of post. Either 'out' the source so we can get a real explanation of the situation or keep it between yourselves. Incitement of doubt is a killer for a fledgling company / product. I am not a fan boy, I don't post 'I Love You Jim' threads but I do respect what they are trying to do.

I would suggest looking at the whole gamut of imagery thus far submitted through the footage and stills threads and discuss these issues on the appropriate forum, especially now seeing as the latest cameras are of the latest spec. build 12 and all. Its then down to you to decide for yourself. Cinematography is all about getting the look YOU want not what everyone expects of you.

Someone else's rubbish is another mans gold.

Cheers,
mark.

Like I said, no disrespect.
 
sparkhope said:
just got word from an LA B movie studio that owns 5 REDS. One of the execs said he loves the Cameras but can't stand the lenses. He literally said something about "crap" and moved on. What's the deal. Are these lenses worth investing in. I currently have both zooms ordered but now I'm wondering if I should hold out. What's your take. Regarding the quality of the image produced by the RED lenses? Please, if you can, focus your response on the image produced and not on the argument of bang for the buck. I concede that RED's prices are ridiculously low for Cine lenses - that's really not the point. Any comments on perceived quality, focus, color, dof, et al. would be greatly appreciated. Thanks.
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there are image quality tests out there comparing lenses. do your research. you should use your own eyes.
 
Eirik Tyrihjel said:
Great news, I will take delivery on the 300mm and the 18-50, 50-150 when they are ready no matter what scale (preferably metric - I will remark imperial to metric myself using good quality stickers)

I give credit to RED for listening to their costumers and responding, although it might complicate things for them beyond what we sometime can comprehend.
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Does somebody think about replaceable focusing ring ? If it is possible to replace focusing ring out of laboratory you can easily switch between imperial and metric , and if you are RENT A RED company it can be helpful .
I need metric system and I am wondering what to do . Empty focus ring can be helpful if it is possible to replace.

Cheers

Pop
 
Red Zoom Lenses are Sigma

Red Zoom Lenses are Sigma

Sigma 18-50mm f2.8 EX DC HSM $ 449 so that means a $ 6,051 for the re-mounting and a profit

Sigma APO 50-150mm f2.8 EX DC HSM $679 so that means a $ 8,150 for re-mounting and a profit

But what you still have are optics of a $ 449 lens and a $ 679 lens
 
"word from an LA B movie studio that owns 5 REDS. One of the execs said he loves the Cameras but can't stand the lenses."

guessing - if you take a Red 18-50 , century 17-35 , any cooke S4/zoom, Ang opto zooms, zeiss ultra/master primze or new zeiss zoom ....and just rate them by how they feel in a line - then look at price of the lens - i think the line would start with Red at 6500 , next would be the century at 15k then the other lens would fall in ......... i'm not sure there would be day/night difference between the images .. for many the extra 9-50k cost would be worth every $ .. for others it would not ...
also depending on how you look at the Red zoom ... if you look at it compared to a still lens - then it doesn't look like a good value ... if you look at it next to PL lens then it's a excellent value ...
the century 17-35 is a rehousing of a $900 still lens and they sell it for 15k.
and if we really want to look at the "profit, extra cost, mark up " ...
how much does that 57k lens really cost to make ?? and all company's need to make a profit to offer service & stay in business ...

or today 40-50% of the cost of those cine lens for us in the USA is because the US $$ has fallen 40-50% in the past 7 years ...at some point the $$ will swing back the other way ( looking at past history of the US$ )
 
Sigmas

Sigmas

I would expect a company to make a profit on the re-housing and the point Im really making is you get what you pay for. The independent tests of the 18-50mm suggest that this lens is sharp but has distortion at both 18mm and 50mm lenses in this price band also are subject to variable quality simplistically that is why Leica stills lenses are so expensive relative to other stills lenses because they have strict quality control and they are hand built. Sigma make a product to undercut the mainstream brands such as Canon or Nikon but as I always maintain in optics you do get what you pay for and if you want the best 4K image you need the best 4K lenses period.
 
Jannard said:
Here is the scoop.

The 18-85mm RED zoom will be offered in either Imperial or Metric.

Jim
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Jim, when I will get my 18-85, any chance for update on this?

The last test Jarred made of this lens was excellent, though he promised to make even better test.

We didn't get any bone on lenses since long time:-)
 
Andrew said:
Thanks! Pawel, however nice second test of this lens would be appreciated.
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I wouldn't object to even twenty second test of this lens :love:
 
Just sweet spot best frame on some good chart showing lpp/mm one single frame at 4K of RED 18-85 Zoom will make my da^H^H my month.
 
Nova Invicta said:
Sigma 18-50mm f2.8 EX DC HSM $ 449 so that means a $ 6,051 for the re-mounting and a profit

Sigma APO 50-150mm f2.8 EX DC HSM $679 so that means a $ 8,150 for re-mounting and a profit

But what you still have are optics of a $ 449 lens and a $ 679 lens
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True, but modern CAD/optics software plus economies of scale really minimize the difference in optics. The Arri people projected the RED 18-50 back in December at ARRI shop here in Ft. Lauderdale and were very impressed with the optics - and they are used to looking at high end zeiss, cooke, etc. all day long.
 
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