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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

I just finished a short film and shot the whole movie with the new RPP. I must say that I was very very impressed with the image quality. The only shortcoming is its size... These lenses are huge... But in a positive note, it balances well with the RED ONE which is also a huge camera! LOL
 
Rowland Kirishima said:
I just finished a short film and shot the whole movie with the new RPP. I must say that I was very very impressed with the image quality. The only shortcoming is its size... These lenses are huge... But in a positive note, it balances well with the RED ONE which is also a huge camera! LOL
Click to expand...
It is all relatively. If you had worked in the movie industry 20- 50 years ago then you wold have seen what huge means.
Even 20 years ago with the Moviecam SuperAmerica.
Even nowadays if you work with film and Master Primes or super 35 zooms.
If you come to Red from HVX, for example, than Red is huge.
 
Does anyone know how the RPP perform on other camera's, for example with a Pro35 adapter, like in terms of quality but also in weight and useability? or on 35mm film? Who had experience with the RPP on others camera's?
 
Max24 said:
Does anyone know how the RPP perform on other camera's, for example with a Pro35 adapter, like in terms of quality but also in weight and useability? or on 35mm film? Who had experience with the RPP on others camera's?
Click to expand...

Norm Li shot a music video on 35mm with the RPPs and it looked wonderful.
 
Rowland Kirishima said:
I just finished a short film and shot the whole movie with the new RPP. I must say that I was very very impressed with the image quality. The only shortcoming is its size... These lenses are huge... But in a positive note, it balances well with the RED ONE which is also a huge camera! LOL
Click to expand...

They're a little on the big side. But they really balance well on the new Epic body. You should try them on the new camera.
 
Adrian Correia said:
you can put a deposit or pay in full for the 18mm now in the Red Store. Deliveries begin, I believe at the end of January or February.
Click to expand...

No, not yet. There is no "Deposit" or "Buy" button. I called Red last week, they are not taking orders for the 18mm RPP at this time.

Also:

Jarred Land said:
... the 18mm will ship by order of delivery date of Prime sets.
Click to expand...
 
anyone have a quick link to, or a list of the proposed RPP focal lengths yet to be produced.
 
Bob Rudis said:
anyone have a quick link to, or a list of the proposed RPP focal lengths yet to be produced.
Click to expand...

Around the time of last year's NAB, Jim mentioned:
Jannard said:
Other lenses are under development are a 14mm, a 21mm, and a 65mm.
Click to expand...

There was also talk of a 120mm and 140mm. I have no idea if these are still on.
 
Did we ever get confirmation of what the coverage of the 18-85mm zoom is?

Second, what's the next RPP? 65mm Macro?? :-)
 
Not sure if it's been covered in this thread yet, I didn't read through the whole thing, but I wanted to comment about the lens distance markings. As a 1st AC, there are not enough. I love the glass, sharpness and mechanics of these lenses, but the lack of distance markings really has an affect on pulling focus. Where there is a large gap between markings, I just don't understand why a few more hash marks couldn't be placed in to add more precise focus placement. Even on a 35mm there will be no markings between 10 and 20 feet, which adds a small amount of guess work as to where exactly your 13' 4" measurement should be.

I guess I am wondering if there is a good reason for this. For such a great lens it seems like a basic, but very important, aspect was overlooked. In the future THERE MUST BE MORE MARKINGS. Squeeze them in there, as many as you can. It really makes a huge difference.

Any thoughts on this?
 
Tanner Stauss said:
Not sure if it's been covered in this thread yet, I didn't read through the whole thing, but I wanted to comment about the lens distance markings. As a 1st AC, there are not enough. I love the glass, sharpness and mechanics of these lenses, but the lack of distance markings really has an affect on pulling focus. Where there is a large gap between markings, I just don't understand why a few more hash marks couldn't be placed in to add more precise focus placement. Even on a 35mm there will be no markings between 10 and 20 feet, which adds a small amount of guess work as to where exactly your 13' 4" measurement should be.

I guess I am wondering if there is a good reason for this. For such a great lens it seems like a basic, but very important, aspect was overlooked. In the future THERE MUST BE MORE MARKINGS. Squeeze them in there, as many as you can. It really makes a huge difference.

Any thoughts on this?
Click to expand...



you've echoed the thoughts of my ACs exactly....they love the glass, wish there were more markings.
 
Tanner Stauss said:
... As a 1st AC, there are not enough... the lack of distance markings really has an affect on pulling focus. Where there is a large gap between markings, I just don't understand why a few more hash marks couldn't be placed in to add more precise focus placement. Even on a 35mm there will be no markings between 10 and 20 feet, which adds a small amount of guess work as to where exactly your 13' 4" measurement should be.
Click to expand...

On the overall you are right.
There should have been some more marks.
On the other hand I found that the lack of marksת, in some situations make the focus puller pulls focus with a feeling and not just by witness mark.
Also you can just add some intermediate marks on the lens focus ring, like by marking yourself on the 35mm the 15' between the 10' and 20' and so on with other lenses. There are small strips of tape like the french focus pullers like to mark their lenses with them and they will stay there forever.

Tanner Stauss said:
I guess I am wondering if there is a good reason for this. For such a great lens it seems like a basic, but very important, aspect was overlooked. In the future THERE MUST BE MORE MARKINGS.
Click to expand...

I guess the manufacturer isn't experienced with cine lenses. Which is no excuse since Red should have directed him what to do. See the coming Leica Cine lenses in which Otto Nemenz was involved by advicing them what to do.

Tanner Stauss said:
Squeeze them in there, as many as you can. It really makes a huge difference.

Any thoughts on this?
Click to expand...

I find that my Angenieux Optimo 17-80 X4.7 in imperial markings, has too many marks. Too many can also be confusing.
 
David (dudi) Namir said:
I guess the manufacturer isn't experienced with cine lenses. Which is no excuse since Red should have directed him what to do. See the coming Leica Cine lenses in which Otto Nemenz was involved by advicing them what to do.
Click to expand...

Otto Nemenz was one of three initiators and investor of Leica SC lens set development.

Dr. Andreas Kaufmann, Christian Skrein and Otto Nemenz,

the three Austrians drew up an initial list of seven parameters.

The lenses had to be:

1. Lightweight.
2. Small in size .
3. T1.4 maximum aperture.
4. User-friendly focus and iris scales.
5. Fitted with a Titanium PL mount.
6. Greater than full frame cine coverage.
7. Easy for camera assistants to handle—easy in the hand.

Technically speaking Leica SC set was designed

by prominent lens designer Iain Neil.

Iain Neil is a international, multi-talented optical designer,
currently living in Lugano, Switzerland. He was born in Scotland,
graduated from Strathclyde University in Glasgow in 1977 with
a B.Sc. Honors degree in Applied Physics, awarded Alumnus of
the Year in 2003 and made Visiting Professor to the Department
of Physics in 2004. Along the way, he won more technical Oscars
than anyone else, and has been issued or applied for over 150
worldwide optically-related patents.
His association with Leica goes back over 30 years. He worked
for Barr & Stroud Ltd. Scotland (now a division of Thales), as
Head of Optical Design. The company had associations with Leitz
Wetzlar. He then was employed at Ernst Leitz Canada Ltd. (now
Raytheon ELCAN Optical Technologies Ltd.) as Manager, Systems
Engineering. Most cinematographers, of course, will remember
Iain from his eighteen years at Panavision Inc. as Executive
Vice President, Research & Development and Optics, and Chief
Technical Officer. At Panavision, his work included the design
and development of the Primo series of spherical and anamorphic
lenses, video systems, viewfinder optics, HDTV optical systems,
compound zoom lenses, and much more.

Film & Digital Times , ISSUE 32-33, Pages 32-37>>>
 
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