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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 Pro Prime set FAQs

I'm wondering when they are going to post samples from RPP itself. The words are out, and now there should be an image to let us witness it.
 
Curran Giddens said:
You also don't have to worry about being first in line for the online store. After the original reservations like Andrae's are filled, they will then go by camera serial #. Doesn't matter when you place your order, as long as it is within a week from when they go online (Tonight!).
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Thanks lads - good to have the voices of reason around to temper my youthful and oft-wayward enthusiasm. I'm off to watch Knowing...
 
If these lenses can be used on other cameras as well, they are sticking to the usual way of collimating and can be shimmed ?
Or are they RED zoom style and they are shimmed, but we are not allowed to the shims ?
 
ehehehehe what reduser would we have w/out your fresh air posts stephen?.. :beer:
 
Stephen Williams said:
Are you joking? Shims that cant be touched, thats a new idea!

Stephen
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It was (or is) exactly so for the 18-50 and 50-150.
We tried to align them and needed the shims as they are of unusual type (I was told similar to Cooke but not identical, what I can't confirm, because I've never seen Cooke shims personally). I did request assistance which I got in form of a confirmation that I should better send them in. My request after a shim set remained unanswered and thus was never fullfilled. Rest PM if you're interested. Cheers
 
Jarred Land said:
over the next week if you put in an order, the RPP's will be assigned in order of RED ONE serial numbers.

After the week is over (on April 29) Prime sets will be allocated in order your deposit is received

Make sense?
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I took this to mean what it says, took Red One #228 (which I've had since Jan 2008) off a job, sent it to red for a quick and belated transfer to my name, to find out by the time it gets to Red things have changed, and the new official word is that reservations this week will be placed in order of Red One delivery date, which is a totally different order, for lets see... the majority of Red One owners.

So what's the story?
 
augenmensch aka therock said:
It was (or is) exactly so for the 18-50 and 50-150.
We tried to align them and needed the shims as they are of unusual type (I was told similar to Cooke but not identical, what I can't confirm, because I've never seen Cooke shims personally). I did request assistance which I got in form of a confirmation that I should better send them in. My request after a shim set remained unanswered and thus was never fullfilled. Rest PM if you're interested. Cheers
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what about the 18-85 pro zoom.
this was another line of lenses
 
Roberto Lequeux said:
But we might get a whole lot of look around on Mostro (FF35), correct?

While getting the benefits of the additional Dynamic Range, and using RPPs to their fullest at 2.4.
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If you mean look around when shooting in a cropped, 4K mode, I suppose that's possible. But as it won't cover the entire sensor, you certainly aren't going to get any FF35 lookaround. To me, putting S35 glass on a FF35 camera is awfully silly... it would be like using a EF-S lens on a 5D (if such a thing was possible). You're throwing away a ton of the sensor, and as has been discussed, you actually get more resolution out of a S35 RED than a FF35 RED if you're using S35 glass. That being said, I know that more dynamic range will trump that disadvantage for some people; but I still think if you're investing in a FF camera, you ought to get FF glass to go with it. Just my opinion.
 
Hey Jim, I was wondering when you all might be able to figure out the shipping schedule for the primes? I know that you really can't start figuring out how many current sets you have sold until 28th when RED owners early deadline ends. It seems like I saw somewhere that you already had so many sets made, but 25 sets vs 300 sets is a bigggggg difference!;) Looking forward to getting my set.

Matthew
 
Matthew Rogers said:
Hey Jim, I was wondering when you all might be able to figure out the shipping schedule for the primes? I know that you really can't start figuring out how many current sets you have sold until 28th when RED owners early deadline ends. It seems like I saw somewhere that you already had so many sets made, but 25 sets vs 300 sets is a bigggggg difference!;) Looking forward to getting my set.

Matthew
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I have posted before that the 1st 200 sets (about) will be shipped by June and all the orders from this week shipped by the end of Summer or early Fall.

Jim
 
Häakon said:
If you mean look around when shooting in a cropped, 4K mode, I suppose that's possible. But as it won't cover the entire sensor, you certainly aren't going to get any FF35 lookaround. To me, putting S35 glass on a FF35 camera is awfully silly... it would be like using a EF-S lens on a 5D (if such a thing was possible). You're throwing away a ton of the sensor, and as has been discussed, you actually get more resolution out of a S35 RED than a FF35 RED if you're using S35 glass. That being said, I know that more dynamic range will trump that disadvantage for some people; but I still think if you're investing in a FF camera, you ought to get FF glass to go with it. Just my opinion.
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Agreed....bit like on using a B4 lens on the R1.

And with the 2 additional stops over the s35 Epic does this justify a $28K upgrade to the FF35....umm.
Now I can be clever and say...why should I worry?....Jim is just giving us more choices and in a real sense that's true.
But obviously you can see Jim's is going to be pullin out the mother#$%%er of all launches for the FF35 Epic and lenses.
And to me he better because it deserves it! Those FF35 cine/hybrid still lenses are going to be shattering!
The thing I just don't get is it's been announced over the next 12 months (economy permitting) we're going to see the launch/shipping of:

All S35 RPP lenses
Mini (3K) primes
FF35 Electronic lenses
S35-5K Scarlet
S35/X Epic
3K Scarlet
FF35 Scarlet
FF35 Epic
& possibly 645/617

That a lot of stuff.
So two things,
Save some money for other stuff...and hope FF35 slips so you can maximise you're ROI on your S35 gear as I fear S35 & FF35 Epics will coexist like B4/PL mount Redone cameras, i.e not much of a fight except there is sooo much investment tied up in S35 film & digital (now Red's here).
But step back a bit. This is now the transistional phase from film to digital acquisition.
Digital still photography killed film still photography when digital provided sufficient delivery quality that noone cared anymore.
On paper this argument comes 'completely' legitimate when the latitudes match up and I expect there may even be some arguments to support at 6K you now have full 4K chrominance rez to play with.
Redone paved the way for the democratication of 35mm cinema whose to say digital 6K won't provide the killer blow to 35mm analog film.

Just musing,
D
 
About resolution, for me Red One has plenty of it. Also, RPP's are set to cover 5k at 2.4 on Mostro. Of course, why not use the full chebang... well I am thinking about all the adulation the RPPs got at NAB, their cost, and speed. So far I only know of one set with cinema barrels that isn't as fast and costs twice as much. Plus the RPPs seem to blow them away on every other aspect. And RPPs are made by the comany making the sensors. Don't forget focus pulling.

Since I am not buying an Epic I hardly look at the prices anymore. But, remember that Epic-X doesn't use Mostro... however it could be just as good (?). Also, remember that there is Scarlet FF35 with Mostro, limited to 30fps (72 burst). Again, I am thinking rental, so I might not be analyzing the costs anywhere near as in detail as you guys must. However, I don't think putting RPPs on Mostro as the best bang for your buck...

...I am thinking RPPs on Mostro might be the best, period, in my humble understanding, but considering everything and thinking from a feature Writer-Director-Producer stand point.

Unless of course when RPPs come out they look horrible for some weird intangible and unlikely reason.
 
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