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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 :)

This is something everyone should do ( Lenses )

At Joe and Scott.
Oh, I get the "vibe " thing, but the test lenses are wrongly labelled. How can I trust any of it?
If you do this sort of test, put a labelling slate into the image to identify the footage for later.
I like this off-handed sort of test. It's less clinical, more "real". But at least make it accurate.
 
Jarred Land said:
Sometimes we forget about the emotion.
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Ain't that the truth. "We," though? Very tactful, sir. I'm completely with you Jarred. I'm all for knowledge, but at a certain point, it seems we experience diminishing returns with all the academic examination. Some filmmakers appear to be more engineer than storyteller. All good though. To each his/her own.
 
The Optimo's and Alura's always look great, captured beautiful footage with them on Epic, F55 and F65, but I'm very keen to play more with some Cooke's. Great tests.
 
Mark Pedersen said:
Here here! It stands up tall in great company.

M
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I love the 18-85! Used it on my first ever RED short in film school and was blown away by how good it is. Heavy, but good.

After a recent shoot I believe Dragon+Super Speeds=SEX
Love the image they produced. Sharp, but very buttery out of focus.
TreeTrunk.jpg

hilltop1.jpg

DiopterEyelash.jpg

M001_C012_05065I.0000429F.jpg
 
Am I the only one who'll comment on the elephant in the room? Most of the shots are out of focus.

Greg Lowry
Scopica Group
Vancouver & EU
 
Thanks for sharing Jarred.

Something wonderful happens when your WFO. Super speeds looked good but what caught my eye even more was the Canon 50mm still lens. Go figure. This coming from the owner of a great set of Super Speeds.

I'm doing some testing on the Speeds, not really sure it's wise to do interviews at T1.3, though I love it immensely. Still working towards my own conclusions on the matter.
 
Our own lens test, Lomo anamorphics, Cooke 20-100, Angenieux 25-250, etc.

Our own lens test, Lomo anamorphics, Cooke 20-100, Angenieux 25-250, etc.

Here's our take on lens comparison. Were tested:

Lomo anamorphics, 35mm square front, and 50 and 75mm round fronts
Cooke 20-100mm T3.1
Angenieux 25-250mm T3.9 (vintage) with and without a Schneider/Century PL doubler
Nikon 80-200mm T3 (Allstar PL rehousing)
Tokina 11-16mm T2.8 (Duclos PL rehousing)

Link here: http://vimeo.com/99228256

Enjoy.

It's a bit long, we let the shots roll with movement, foliage, all wide shot are at the same distance of 27 meters (88.5 feet).

This is also an anamorphic vs widescrren comparison. Intertesting to see that shooting Anamorphic, 5K WS and 4K WS each give different aspect ratios. The only one that matches DCI spec is 4K WS, which we used for the Angie as it doesn't cover 5K.

Cheers,
Damien & Blaise
 
It is not a noble thing to shun optical quality (not that anyone here is really doing that). In fact it's a great way to help narrow your choices. Once you remove the lenses that are soft, have distortion, soft edges, etc, you can then examine the remaining lenses for more subjective qualities.

It's actually not very easy to find a lens set which meets basic image quality criteria. I think the lower standards accepted by photographers are being adopted by DPs. That's no thanks to the fact that all new still cameras can do video now and there's a long term fad with wide apertures (apparently quality doesn't matter but DOF does).

As for me, I can't wait to try cinema lenses on my 'little' still cameras. :-)
 
That test clearly shows supremacy of Angenieux zooms. In every possible way. And they zoom's. So it is saves a lot's of time when you don't need to swap lens on set. It makes you fast DOP, director and producer always love it. And it is kinda obvious that Angenieux is the best zoom lenses on market for ages. So if you have chance to get them - that's no brainer. You won't regret ever. From budget prosumer-like perspective I still think that Schneider Xenon's are truly awesome, along with Canon Cinema primes. If you really tight on budget - go for them. Only disadvantage of Canon's Cinema Primes is EF-mount, but it is market thing they would never change it unless you go Duclos for rehousing to PL. Disadvantage of Schneider is short end - they only have 25 mm for now and they not super fast like T2.1. Most of the Canon's Cinema Primes are much faster like T1.5 or so. Zeiss CP's are also ok, but design wise they really old, they breathe a lot starting from 50 mm and up, ton's of fringe. But they still Zeiss and have decades of customer loyalty.
 
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