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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 :)

RPPs

Brook Willard said:
One curiosity: the witness mark on the focus barrel appears to be about half the thickness of the fixed witness mark. Are they the same thickness? If they're different thicknesses, there will be an inherent inaccuracy to the marks.
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Maybe it is imprecise on purpose. Red 18-85 is the same way I think.
 
Liam, I think Shawn meant both metric and imperial on the same lens. Now, you can order either metric *or* imperial, but both marks won't be on the same lens...
It would have been very nice to have both...
 
I disagree, most AC's are trained on imperial. Having both means either giving up dual sided scales or decreasing the visibility/accuracy of the scale on each side. I have Zeiss lenses that are dual measure and I've blacked out the metric scale for exactly that reason.
 
Evin, most of the world uses the metric system (in general, i mean, not just on cinema lenses), and in many parts of the world most people don't use feet and inches often enough as to have a "feel" for a subject being at "four and a half feet". And there must be a reason why RED is offering a metric version...
 
Yea, remembered when everyone went batshit insane after Red said only imperial on their original 300 and 18-50?
 
jdcineaste said:
Evin, most of the world uses the metric system (in general, i mean, not just on cinema lenses), and in many parts of the world most people don't use feet and inches often enough as to have a "feel" for a subject being at "four and a half feet". And there must be a reason why RED is offering a metric version...
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No doubt, and Arri and Cooke also offer their lenses in either imperial or metric. But that does not change the fact that the majority of professional focus pullers are trained in and prefer imperial. There are many reason to offer metric and I do not think it's a bad idea to have the option available, but ask your ACs what they prefer before you buy. You get better results and have a happier 1st AC with a one measure lens.
 
So... Folks have seen prototype RPPs on a projector at NAB. They sound great as far a resolution and evenness of illumination is concerned. But I'm sure I'm not alone in wondering how they look aesthetically, and how they perform in real world situations.

So how about it RED? Can you please post still and motion images from each of the production lenses so everyone can see how they really look, and what we'd be buying?

Bokeh and breathing samples at T 1.8 and T4 would be really helpful in evaluating them. Contrast, flare characteristics in backlight situations as well...

All are important. Anyone else want to chime in?

M
 
I couldn't make it to NAB but did get a chance to see them at the Red store a few weeks ago. From what I could gather, they are extremely sharp, even at T1.8. The way in which the lenses rendered the out of focus bokeh was interesting. Racking from the foreground to background had a very 'still camera lens' feel to it. Maybe that was because of the super-sharpness, I'm not sure. It just felt like the racks were too sharp if that makes sense.. I'd like to do more testing though. Overall, the 'feeling' of the lenses felt like modern Nikon glass. I couldn't get any feel on the flares, Red didn't have a flashlight to let me borrow at the time. Hands down, super sharp.. still uncertain about the 'character' though.. Contrast looked decent. These lenses are friggin huggggeee and heavvy though
 
Evin Grant said:
But that does not change the fact that the majority of professional focus pullers are trained in and prefer imperial.
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That depends where in the world you are.
 
Evin Grant said:
But that does not change the fact that the majority of professional focus pullers are trained in and prefer imperial.
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Your post can be misunderstood. There actually are professional focus pullers in continental Europe and ALL of them are used to meters. For me and many others of this side of the pond switching to feet is hard if not impossible.

If you would say the majority of profesional North American focus puller are trained in and prefer imperial I'm totally with you. But imperial markings are not more pro than meter markings.



Hans
 
My intention was not to belittle Europe or the metric system (which I think is superior BTW), just to emphasize that the majority of the world, excluding parts of Europe apparently, use imperial for this task. Call it Hollywood influence or whatever you like but it should be a consideration. If you're based in Europe it makes perfect sense to buy metric.
 
I bought a 8R lens from Europe in metric and thought people could deal with it as I included a metric tape measure with it and it is pretty much always in focus at 4 and up but no, AC's freaked and I had to re barrel it.

I do like the band Metric, they rock.
 
Oh Yea, I want to see some basic test footage of the RPPs also. When they were in NY on that building did anyone hit the red button?
 
Evin Grant said:
My intention was not to belittle Europe or the metric system (which I think is superior BTW), just to emphasize that the majority of the world, excluding parts of Europe apparently, use imperial for this task. Call it Hollywood influence or whatever you like but it should be a consideration. If you're based in Europe it makes perfect sense to buy metric.
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BTW,

today the best cinematographers in Hollywood are mostly coming from (metric/imperial) Europe
like acclaimed Academy Award Winners and Nominees Vittorio Storaro A.S.C (Italy),
Janusz Zygmund Kamiński A.S.C. (Poland), Michael Ballhaus A.S.C. (Germany) and Roger Deakins A.S.C (UK) just to name a few.
 
Sanjin Jukic said:
BTW,

today the best cinematographers in Hollywood are mostly coming from (metric/imperial) Europe
like acclaimed Academy Award Winners and Nominees Vittorio Storaro A.S.C (Italy),
Janusz Zygmund Kamiński A.S.C. (Poland), Michael Ballhaus A.S.C. (Germany) and Roger Deakins A.S.C (UK) just to name a few.
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Despite the best efforts of the EU I think you'll find Roger Deakins works in Imperial:)

Also, I think you'll find most ACs in Hollywood are US citizens.

Also, I don't think we should degenerate this thread into a 'who has the best DOPs' argument. That is infantile, pointless and frankly very rude.
 
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