The perfect single lens...

[Gary Jones]

The standard 1 lens solution for TV shows and features seems to have been the Optimo 24-290mm (and probably still is). With the Optimo's image circle being less than the Epic FF5K sensor size, is there a single lens that is an alternative one-stop-shop for TV/feature work?

The candidates that I can think of:
Fujinon 18-85mm T2.0
Optimo 17-80mm T2.2
Fujinon 24-180mm T2.6

Do they all cover FF5K?
Which would you pick if you were in the market for a single lens with a high budget?

Consider it a theoretical exercise. No point trying to point out the virtues of a prime set or the Optimo Rouge DP's for instance, this is a battle of the best 1 lens solution...

I am especially interested in whether you have used one or more of the lenses above (or a valid alternative)...

Thanks.

 

[David Mullen ASC]

The 24-290 is sort of a necessary evil in TV... But it's very large so it can't be used for everything (and 24mm for wides can be limiting, plus it's not great at 24mm, and the lens breathes like most big 10:1 zooms). I usually leave it on b-camera all day long but use smaller lenses on a-camera. Lately on "Smash" I use the Ang. 15-40 and the 28-76 on a-camera, both are small, light, fast to switch between.

An 18-85 would cover you most of the time and the Fujinon is an excellent lens, but you'd have to carry something lighter for Steadicam work. The Ang. Optimo 17-80 is also a nice zoom.

 

[Gary Jones]

David, your generosity with your time and knowledge is once again appreciated.

I must admit, I did wonder how people managed with being limited to 24mm at the wide end, but I heard people like Deakins rarely go wider than 24mm, so if it is good enough for him... Do you find the focal lengths you use for TV work very different to feature?

I also thought 24mm on a 5K Epic would have an equivalent FoV to below 20mm on a Red One@4K, so you could probably cope with it (hence the suggestion of the 24-180mm Fujinon).

Like most things I guess, best to test them out myself.

 

[David Mullen ASC]

I don't know if the 24mm end of the Optimo 24-290mm covers the 5K area of the Epic sensor...

Generally I'd say that 24mm is wide enough for most dramatic scenes involving people, but I'm shooting a musical TV series where I always need to get a head-to-toe take on the dancers, with big camera moves, so being able to get out to 15mm has been useful. Also I'm matching the look of a pilot which sometimes used a 14mm prime lens, so that look has been established.

I'm sure that some shots in the Coen Bros movies have used lenses wider than 24 mm...

But yes, you generally work more in the 25mm to 75mm range when shooting a typical 2-person dialogue scene in small to normal-sized rooms unless you are trying to be stylish/stylized.

 

[Alexander Ibrahim]

I just want to add the Red 18-85 t/2.9 to your list.

It's the worst of the workhorse lenses you list because of its speed, but its also by far the cheapest.

I do wish you could open it up just a bit to a t/2.8 ... but at the price I can deal.

Speaking of Deakins ... I read that his favorite lens was the Cooke Varotal, but the article I read didn't specify which Varotal he liked so much. The 18-100 t/3 seems to be a good guess.

Of the lenses under discussion I've only worked with the Optimo and the Red ... but I am very eager to try the Fujinon.

Oh ... and another lens I'm dying to try is the Master Zoom 16.5-110 t/2.6 Although that appears (from the spec sheet I've never even seen one) to be about the same size as the Optimo 24-290.

Between the Optimo 17-80 and the Red 18-85 its hard for me to choose. The Optimo is just better all around ... but I really like the 85mm.

Altogether though, I think of the "all in one" lens as a necessary evil, just like David. I do like to have a 3-5x wide zoom in the kit, and work with primes for the most part. I love the Cooke 15-40 zoom, though I only used it once. The Optimo Rouge is a great workhorse ... and even the Red 17-50.

I bring these up because I've seen them used as the "one and only lens" on some productions. I think they are too inflexible though without something to expand the range a bit ... either wider or tighter.

 

[Chi Ying Chan]

The Optimo 17-80mm looks soft and green on the MX and Epic.Normally -8 on MX,-5 on Epic for dailies.

Regards
Chan Chi Ying
DP HK

 

[Chi Ying Chan]

Not more than 45mm pull wide with the 24-290mm on the Epic,but then u have nice vignette somewhere around 30 to 45 to play with depends on personal taste

Regards
Chan Chi ying
DP Hk

 

[Gary Jones]

I hear the 24-290mm does vignette and that there are plans to for a 1.2 teleconvertor to help it cover.

Is the 24-180mm Fujinon shipping yet? Anyone seen it in a rental house?

 

[Ryan Hamblin]

I know the RPZ 17-50mm is not in the league of many of the zooms mentioned, but I have shot with many of these side by side and the lens really does a fantastic job. It's close focus( 4 inches from front element ) nearly negates the need for an 85mm... If your actors are comfortable with a camera a foot or two from their face

 

[Phil Bates]

Just finished an aerial job using the 24-290 and it does vignette slightly. Our solution was to shoot 5K 2:1 then crop to 16:9. You end up with a beautiful 4.5K image (4551 x 2560).

Here is the vignette at the wide end (5K 2:1).

We also used the Alura 18-85 which had a similar, but softer vignette.

Phil

 

[Dave Blackham]

I know the RPZ 17-50mm is not in the league of many of the zooms mentioned, but I have shot with many of these side by side and the lens really does a fantastic job. It's close focus( 4 inches from front element ) nearly negates the need for an 85mm... If your actors are comfortable with a camera a foot or two from their face

The camera teams renting our RPZ 17 50 lenses are very happy with them so Id add it to be considered also. What are the views of other cameramen for the 17 50 ?

 

[James McLellan]

I have often thought if you had just one lens it would be the 28-76 Ang. Not super wide but a very light and fast and verstile lens. I have happily shot entire short films on a 50mm prime so having a 28-76 range could feel like a luxury given the right mindset.

I'm no expert though. Just lens lust on my part.

 

[Michael Panfeld]

I realize that these are older lenses and are not in production, but how about the Lomo 20-120 T2.6 (bazooka) or the super lightweight Ekran 28-80? Both are sharp and fast.

I am also surprised that nobody is mentioning the still zoom lenses. These certainly cover 5K and will be good for the EPIC's FF sensor when that debuts.