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Scarlet-X: Recommended Canon EF lenses

Nick Wernham said:
When you use an APS-C lens are the focal lengths (in terms of field of view) relative to a full frame camera still? What I mean by this is that if you have an APS-C 10-22mm lens will it still be 10-22mm at 4k on the Red (which, as I understand it has the same crop factor, 1.6x, as an APS-C camera)? Or would the same crop factor still apply, making the field of view more similar to a 16-35mm full frame lens?
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It will still apply. It will indeed look like the 16-35, with the disadvantage of being 3.5 at widest and more closed at close zoom. (that's why there's so much love for the Tokina 11-16, which basically is a 17mm equivalent at widest)
 
Mark Pugh said:
Put one on the Epic today. At 5kFF:
Vignettes badly at 17mm, and a bit worse around 30mm.
It should be ok at 4k.
The 10-22 also vignetted slightly at 5kFF, but not with a hard, black shadow. It might be correctable to an extent in a grade.
Click to expand...

cheers mate, it would be 4k at 24p that I'm after.

I've done the math and calculated the 4k is exactly the same mm width as aps-c but with 4mm less in height so there should be zero vignette
 
After doing a bunch of debating with myself looking at the epic thread : http://www.reduser.net/forum/showth...Compact-Primes-or-RED-Pro-Primes-for-the-EPIC
which btw is a real good thread ... I'm not sure if it matches your "inexpensive" ... but inexpensive is a relative in these groups ...

Anyway, i pulled the plug and went with the zeiss cp2 21mm to go with my current 50mm. All my other "current" lenses are really more for DSLR, and i couldn't get a quality/mm match up with my Zeiss due to the change in FOV. I will probably just crop the 21mm when i need something between my 21 and 50mm. (i.e. I will always shoot in 5k or 4k raw, but really my final output is always either 2k or 1080p so cropping the 21mm allows me to "simulate" a bunch of lenses). I have no idea how well this will work though.
 
Basically its going to be strap on and hope for the best with all our nice canon [et al] glass. 1.6x and greater is gonna be a tough pill to swallow. as will any serious vignettes . @ least my canon 14 2.8 wont distort as much any more. Might turn into a nice general usage wide angle.??
 
Tom:

I LOVE the Nikon 14-24; much sharper and useful range than the Tokina (imho). And for those that are concerned about not being able to put a filter on it, worry no more:

http://www.bhphotovideo.com/c/product/693472-REG/LEE_Filters_KIT_SW150_SW150_Filter_Holder_Kit.html


Tom Lowe said:
I would look at the Tokina 11-16 (at 4K I don't think it will vignette).

I would look seriously at putting a Nikon 14-24 on the list, even if you have to use a Nikon G>EOS adapter.

The 16-35 is a real workhorse. Primes like the Canon 24 1.4, 35 1.4, 50 1.2 and 80 1.2 should be considered.

The new 70-200 2.8 IS II is a no-brainer... a MUST HAVE!
Click to expand...
 
George Su said:
Anybody considering Sigma primes? I'm considering the 30mm, 50mm, and 85mm 1.4.
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Yes, I'm thinking of adding the sigma 20 1.8 and 50 1.4 to my 24-70 and 70-200 (and 11-16 not-sigma) kit. very happy with my sigma zooms, but havent seen them on anything beyond 1080p for motion yet.
 
I know this is recommended Canon EF lenses but is anyone looking at the Zeiss ZE's? I'd like to know if there are any thoughts on those.

Similar F stops as the Canon glass and cheaper.
 
"I LOVE the Nikon 14-24; much sharper and useful range than the Tokina (imho). And for those that are
concerned about not being able to put a filter on it, worry no more:"

My favorite lens ever made, the Nikon "Crystal Ball" 14-24. If you've never seen one, go find a camera shop.
Shoot this for a day and you will think all of your other glass is soft. There is a reason the Canon shooters buy it too . . . and it's two grand!

I bet someobody could make a sideline business out of cinema conversions on this lens alone, with PL mount options, focus gears and de-clicked stops with mechanical and electronic iris control and a matte box attatchment that takes filters.
 
I bet someobody could make a sideline business out of cinema conversions on this lens alone, with PL mount options, focus gears and de-clicked stops with mechanical and electronic iris control and a matte box attatchment that takes filters.
Click to expand...

Someone already did, minus the electronic IRIS. http://www.focusoptics.com/newruby.htm
 
I tried tokino 11-16 pl mount lens in epic
It was awesome ....so I hope it will be the same for scarlet
I am right or wrong?
 
I'm using the Fotodiox Pro Adapter for my Nikor to EOS ... it works perty good ... even on the older 1970 lenses (there are some wierd lips on the nikor, that i had to vice grip off ... which was kind of dangerous). I will be using those in situations where I'm worried about my cinema lenses(i.e. if i am painting, etc).
 
I have a potentially daft question for anyone. Ive committed to the Scarlet canon mount package (5 mins after announcement! ha!) But.. If i wanted to upgrade to a set of RPPs ..Its just a mount / adaptor change on the front right?
 
Isaac Asimov said "The solar system consists of Jupiter plus debris"

I say "Ultrawide zooms consist of Nikon 14-24 2.8 plus debris"

Thanks for the tip Patrick.. Fotodiox G-lens adapter ordered, to tide me over until Nikon mount ships!


Mike
 
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