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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

Richard Darge said:
6 lbs for the 25 and 35, 4lbs for the rest
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6 lbs for the wides... 4 lbs for the rest... twice the weight of a Zeiss UP for comparable focal lengths, and the 25 & 35 are longer than the 50 through 100, versus a consistent length throughout the range.

That makes for a fair amount of heft in the handheld range, re-setting of the Mattebox when changing from a 25 or 35 to a 50 on up...

Things to consider. Wondering if the 18mm and 14mm will be the same barrel length or longer than the 25 & 35... And would they be heavier than 6 lbs since there are typically more elements in wider lenses?

Wondering if there is a plan by RED to go beyond 100mm to a 135 and a 180?
 
What are the plans for the Full Frame set of RED lenses? Will they be similar design of the RPP, but will cover FF35. Basically a RPP (II) set. Or will they be more like still lenses? Just wondering the thoughts on that since Zeiss has released their Compact Primes that cover FF.
It would be awesome to have RPP (II) that cover FF.
 
Mark Pedersen said:
That makes for a fair amount of heft in the handheld range, re-setting of the Mattebox when changing from a 25 or 35 to a 50 on up...
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Re-setting the MB....loosen two screws, slide the MB forward, problem solved.

Remember, we're talking about primes that compete with if not out perform the UP at a quarter of the price. :thumbsup:
 
Alexander Nikishin said:
Re-setting the MB....loosen two screws, slide the MB forward, problem solved.

Remember, we're talking about primes that compete with if not out perform the UP at a quarter of the price. :thumbsup:
Click to expand...

Where are the test results that show the Red primes performance against the UP's?

Cheers

james
 
Mark Pedersen said:
That makes for a fair amount of heft in the handheld range, re-setting of the Mattebox when changing from a 25 or 35 to a 50 on up...
Click to expand...

I think clip-on matteboxes will be most popular for these lenses anyway.
 
Alexander Nikishin said:
Deposit placed! =) Looks like I should have em in a couple weeks huh. :sifone:
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Did they tell you that? I'm potentially a hundred sets before you, and I haven't yet received word when I'll get mine.
 
Today is the deadline to confirm for all existing '07 orders and for RED owners to secure their place in line. I'm guessing they're collecting all the confirmations before they assign prime sets to go out.

I ordered during NAB '07. Hope to get mine soon. :sifone:
 
Quote:
Originally Posted by Jeff Kilgroe
Going back to this.... Any chance of a credit for those of us who already bought the 300mm Pro to bring our complete package in line with that price? I would've glady bought the rest of the set at that time, too.

JIM:
Good suggestion... I'll sleep on it.

Jim


OK, I slept on it... we'll do that. Only seems fair to me.

Jim

Hi Jim,
Any word how you will credit the 300mm Prime Owners ?? Would we just need to pay the difference between the 6 Lens Kit (23k) minus the 300mm Pro Price ??? (=17025 USD)
This would be awesome !!!

thanks
Manuel
 
Manuel Wenger said:
Hi Jim,
Any word how you will credit the 300mm Prime Owners ?? Would we just need to pay the difference between the 6 Lens Kit (23k) minus the 300mm Pro Price ??? (=17025 USD)
This would be awesome !!!

thanks
Manuel
Click to expand...

He has already stated in another thread that we get $1000 discount.
So $18k for the 5 lens set that is available now, which imo is very generous.
 
Thanks for that info, that´s great !
I missed that post, it´s so much stuff in here and the search function somtimes is frustrating.

Thanks
Manuel
 
Evin Grant said:
I think clip-on matteboxes will be most popular for these lenses anyway.
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If you're doing hand-held work, sure. But do you really want to be taking off and putting on a clip-on with filters every time you do a lens change in a narrative situation? And for working fast under pressure? No thanks. That's why they make swing away matte boxes. Consistent barrel length and gear positions make for fast lens changes.

M
 
Mark Pedersen said:
If you're doing hand-held work, sure. But do you really want to be taking off and putting on a clip-on with filters every time you do a lens change in a narrative situation? And for working fast under pressure? No thanks. That's why they make swing away matte boxes. Consistent barrel length and gear positions make for fast lens changes.
Click to expand...

If you're gonna use a matte box, you want it mounted to the rails not the lens so it can swing away. Fair enough. Those things do look cool.

If they cost like $150.

At $1400 for a metal rectangle that probably costs $40 to machine? Suck it, Arri. My Nikons all have $15 plastic hoods that screw on the front of the lenses and do a great job of preventing flares and ghosts. That $1400 will get me the Nikon mount AND a new lens (maybe two!)!

*shakes head at incomprehensible film industry*
 
Häakon said:
$1,400 for a swing away Arri? Dream on. :)

http://www.filmtools.com/mb20.html
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MY GOD, $4000? I mean at least that one's a fairly complicated deal and not just a plain metal rectangle like the $1400 one I was looking at, but still!

Next you're gonna tell me those folding chairs with the actors' names on the back cost more than my DSLR.
 
Welcome to the film business , leave your wallet at the door. rent a studio in manhattan for a day to shoot stills its $1000 , mention you want to shoot video and film it suddenly jumps to $4000 same room. if DSLRs become more usuable for film production its going to be a real head tickler for the gougers. people will make up all sorts of justifications for gouging.
 
Bing Bailey said:
Welcome to the film business , leave your wallet at the door. rent a studio in manhattan for a day to shoot stills its $1000 , mention you want to shoot video and film it suddenly jumps to $4000 same room
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And let's not even start on all the union people you have to hire once you get to that overpriced room. I was looking through a DP book the other day and I was just shocked at all the different people you have to have to do what I do myself on a still shoot!
 
Lee Saxon said:
And let's not even start on all the union people you have to hire once you get to that overpriced room. I was looking through a DP book the other day and I was just shocked at all the different people you have to have to do what I do myself on a still shoot!
Click to expand...

So maybe you should stick to still work. ;)
 
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