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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 :)

Scarlet at 4K sensor crop options

Simon Knight

Simon Knight

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Hey everyone..
well a year in and Scarlet is busy doing stills and motions stuff alike...
I'm wanting to up my Zeiss glass count and wondered on the crop factor of 1.73 against traditional focal lengths..
so tradition says 35mm, 50mm and 85mm. But with the Scarlet's crop at 4K this give very little wide options... So I was considering 18mm, 35mm and 50mm. With the crop you have 33mm, 60mm and 86mm. So stay with the standards or go new school... But are the field of views on these new lengths too different?... Just a little confused..

cheers for input.

simon
MediaHound Films
 
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"against traditional focal lengths" is pretty relative. I think Scarlet is 1.6 compared to full frame.

Lens choice should really depends on what you're doing. Docs vs narrative, one man band vs full camera team.

I've done lots of work at largely 11-50mm - dark fantasy comedies and that kind of thing work awesome at wider focal lengths. When things get dramatic or intense it's nicer to have longer lenses. But typically for location shooting or even small set builds on super 35mm I like to have 18-85 at least. I typically roll with an 11-16 and a 6 lens prime set that goes from 19 to 135. A 6 lens set is pretty typical for cinema I think.

Some people get zooms to cover that range, and that works too.

On a full frame camera I would likely prefer more like 20-200. But again, depends on what you're doing and the spaces you're dealing with. You won't need a long lens in small rooms, but it can be nice for other stuff.
 
If you get yourself an 18 or a 16, you'll be fine. It took me a good while, but I'm actually loving the 1.6 crop now days.....it has the nice quality of feeling closer to your actors on screen, even though you're physically further away. I love it. You'll sort of get a feel for it the more you shoot with it. For now, I still feel like a 50 is a 50, but it's just tighter...sounds cliche, but it's hard to put your finger on. I have the Samyang 16 and it's delicious. It's my new 24 coverage (although doesn't feel like a 24).....did I just write a whole lot of nonsense? Probably...hehe....
 
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Cheers for the lens chat... I'm thinking go wide and then just get nearer if you need a cu or ecu...
now crop... According to the crop factor section on RED.com the Misterium-X sensor (super35mm) compared to full frame 35mm is 1.3 times at 5k and 1.7 times at 4k..... Is that not how to read it?

again thanks for help deciding...might stick with my 24-105mmL for doc stuff and use the 18mm and 50mm as primes... Just do i get the 35mm middleman or go tele and get the 85mm..... Food for thought.

simon
 
No worries man, glad to help :) And yep, that's right. 1.6 or 1.7 close enough at 4K. Also, I highly rate the 24-105, although it does vignette and loses almost a stop once zoomed in (despite the fixed aperture), I think it's awesome. Here's a couple of stills I shot with it recently:


VickiMa_Portrait_by_MatthewScott by [MTS]Films, on Flickr

VickiMa_Portrait_2 by [MTS]Films, on Flickr

I'd honestly go the samyang 16mm f2.2 (t2.2). It's better than anything out there under $3000. 50mm as per usual, something fast like an AiS Nikkor f1.4 in good nick can be had for abour $250. I shot this a couple of days ago on my old 50:


SteamPunk_POSTER_01C_1920wide_MatthewScott by [MTS]Films, on Flickr
 
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Lovely stills Matt, I do like seeing your work... I'm glad you said that about the 24-105, it's a great lens on my Scarlet and 7D... And yes, it does lose a lot of light somehow at full tele...

now to trade up my 100-400L for the Something wide.. Just not using it enough and need a decent wide...
You'd suggest the Samyang over the Zeiss?
cheers

Simon
 
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Are these the Samyang Cine lenses or the stills versions as I agree that you get a huge bang for your Buck with Samyang?.....

sk
 
Naim Sutherland said:
"against traditional focal lengths" is pretty relative. I think Scarlet is 1.6 compared to full frame.

Lens choice should really depends on what you're doing. Docs vs narrative, one man band vs full camera team.

I've done lots of work at largely 11-50mm - dark fantasy comedies and that kind of thing work awesome at wider focal lengths. When things get dramatic or intense it's nicer to have longer lenses. But typically for location shooting or even small set builds on super 35mm I like to have 18-85 at least. I typically roll with an 11-16 and a 6 lens prime set that goes from 19 to 135. A 6 lens set is pretty typical for cinema I think.

Some people get zooms to cover that range, and that works too.

On a full frame camera I would likely prefer more like 20-200. But again, depends on what you're doing and the spaces you're dealing with. You won't need a long lens in small rooms, but it can be nice for other stuff.
Click to expand...

1.6 crop of what? 5D (or full frame PHOTO) is not a normal lens standard for filmmaking. It's a 1X non-crop compared to 35mm cinema film.
 
I certainly have to agree with Matt in that I've also never "wished i had a full frame sensor" and just get used to the image that I get. My 24-105L at 24mm has been just about wide enough on inside shoots, just not quite fast enough at f4 and needed to be well lit. But really not a huge issue...

perhaps im a "crop person" (careful spelling needed there!) as my 7D is great too!!

Simon
 
Ok,
was in town today and picked up a copy of the Sigma 18-35mm f1.8

heard a few food things about the lens and though it was worth a try.. Will keep people posted.

Simon
 
Simon Knight said:
Ok,
was in town today and picked up a copy of the Sigma 18-35mm f1.8

heard a few food things about the lens and though it was worth a try.. Will keep people posted.

Simon
Click to expand...

I'd love to see what imgaes you get out fo the Sigma. I also agree with Matthew about the Samyang/Rokinon 16mm, its a lovely lens
 
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