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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 :)

Urgent need for lens advice!!!

Borrow a lens

Borrow a lens

Jeff Kilgroe said:
Most decent camera shops will rent gear. But since you can't do that.... Maybe you could borrow a lens?
Click to expand...

Yes, borrow a lens. http://borrowlenses.com/

I'm not affiliated with this company, I've had friends use it and they were very happy with them.

Best, Peter.
 
Samy's in L.A. will certainly rent you lenses. They require a credit card deposit of the value of the lens.

SANJIN: STOP YOUR CROP FACTOR CONFUSION AND GET IT RIGHT: HE IS SHOOTING ON A D90. THE D90's SENSOR SIZE DOES NOT CHANGE. A 11mm will ALWAYS be WIDER on the same Sensor than a 17mm. Hes is NOT shooting on a FF35 sensor.
 
Florian Stadler said:
Samy's in L.A. will certainly rent you lenses. They require a credit card deposit of the value of the lens.

SANJIN: STOP YOUR CROP FACTOR CONFUSION AND GET IT RIGHT: HE IS SHOOTING ON A D90. THE D90's SENSOR SIZE DOES NOT CHANGE. A 11mm will ALWAYS be WIDER on the same Sensor than a 17mm. Hes is NOT shooting on a FF35 sensor.
Click to expand...

Florian,

It's difficult to know what are you talking about....

but whatever just have a look at the picture below again were 11mm on (APS-C >>>Nikon 90) is equivalent to 17mm (FF35>>>Nikon D3X) and wider about 1 degree (103 vs 104) :), so that means "probably" I am and maybe even Tamron spreading confusion herel!!!!!!! :biggrin::wink:

AnglesOfView.jpg


Also I am a bit surprised that even some moderators here (Jeff Kilgroe) didn't get a right point about crop factor.
 
sj be careful.. w/ jeff only a word.. he's jarred's man for cleaning the house.. respect :cool:
 
Sanjin,

Aren't you just saying that a full frame sensor using a full frame lens will have a larger area than cropped?

If you are using a cropped sensor (which we are) with non FF35 lenses, the result will be the same.

It sounds like all you are saying is don't try to use the Tokina with a FF sensor, which no one is suggesting.

I think you will find that a FF and non FF lens will look the same on the Red and D90, due to the sensor.

That's all I get from your graph and description.

Please correct me if I'm wrong, but I don't think I am.

I have the Tokina and it's wicked wide, even on a cropped sensor.
 
Sanjin, I understand the crop factor between the two sensors. But that is irrelevant here. Zack is shooting this on the D90. It's true that a 17mm lens with full-frame coverage will give him a wider FOV when mounted on a FF35 camera as opposed to an 11mm lens mounted on the D90, but that doesn't matter or help here. A 17mm lens on the D90 gives a narrower FOV than the 11mm lens, so I don't understand what you are trying to tell us here.

Your image above is great, it shows that a 17mm focal length on the APS-C format would have about a 75 degree FOV and the 11mm would have a 103 degree FOV.

Perhaps it's a language barrier, but Nils, Florian and I all read your post as if you were saying the 17-35mm FF35 lens would give Zack a wider FOV. Which it would if he were shooting on a FF35 camera, because the Tokina does not cover FF35. However, he's not, he's shooting on the D90... So I don't understand where you're coming from with this...

filmmaker's gang said:
he's jarred's man for cleaning the house.. respect :cool:
Click to expand...

Haha... :beer:
 
It's very easy to get in clash :head_explode: (also to look stupid :yikes: ) with some people here who didn't try out many different still lenses on RED1 as I did.

As you all know very well that I do have an universal mount on my RED1 and can put almost any existing still photo or cine lens on that.

And I was experimenting with many lenses and still continuing with that.

Some guys recommended Zack to get Tokina 11-16mm. Fine. But also he found out that he couldn't get it right away. Lucky him!?

The clash and confusion here was made because I have some doubts about using APS-C super or ultra wide angle lenses like a focal lengths 10mm, 11mm, etc... for moving images.

My tests with Canon 10-22mm that is optically much better than Tokina 11-16mm (for still photography) showed me a "funny perspective" type of distortions when moving image is involved.

video test example 1>>>

I continued to (re)search and did some tests with Voightleander 12 f/5.6 and 15 f/4 Leica-M mount FF35 lenses.

Both of them showed vignetting on RED1. Voightleander 15mm f/4 was better performing and compared to Canon 10-22mm zoom

has pretty good or even a normal perspective feeling without much of optical distortion. It's a pity that vignetting...

video test example 2>>>

And to repeat again:

Actually I wanted to explain here (maybe still unsuccessfully) that field of view, field of vision, angle of view or angle of coverage (whatever you call it)

is not so pleasant using some of super-wide APS-C designed lenses (mostly zooms) like a 10mm, 11mm or 12mm on R1.

Alexander Nikishin said:
There really should be a crop factor for dummies book. =)
Click to expand...

Also for sort of "angry" supermen guys like a ... there is one picture above that is easy to use instead of "a crop factor for dummies book" :sifone:
 
That's all fine, I don't have these problems on my R1 with the Tokina. Wildly wide, razor sharp even at 11mm, no vignetting, only great images, great price.

Nothing to complain about in my book.

Sanjin Jukic said:
And to repeat again:

Actually I wanted to explain here (maybe still unsuccessfully) that field of view, field of vision, angle of view or angle of coverage (whatever you call it)

is not so pleasant using some of super-wide APS-C designed lenses (mostly zooms) like a 10mm, 11mm or 12mm on R1.
Click to expand...
 
jimhare said:
That's all fine, I don't have these problems on my R1 with the Tokina. Wildly wide, razor sharp even at 11mm, no vignetting, only great images, great price.

Nothing to complain about in my book.
Click to expand...

Canon 10-22mm is even sharper and better than Tokina 11-16mm but show me

your any footage with slow panning, then how somebody diagonally crossing in from of the camera or similar dynamic movement examples.

Everything there turned "ugly" is produced by a slight barrel distortion at 10mm with Canon or 11mm with Tokina in case.

Also not talking about fixed camera shots.
 
Happy to.

As part of a six Red live shoot, I had the Tonina on a jib that was moving all night. Not once did I experience any warping or other issues. The results were spectacular.
 
Okay guys, good news, the local Samy's Camera got ONE in today and I drove over and picked it up. Thankfully, it does exactly what I want for the project and as a surprise bonus, I tried putting my Panasonic anamorphic adapter on it and it worked at 16mm. Imagine that, a 16mm anamorphic!!! Needless to say there was warping in the middle if the subject was too close but otherwise it was aspherical, so if you wanted a landscape or special shot that you couldn't get wide enough, the Tokina will do the job!

Unfortunately, the class project I'm working on doesn't call for anamorphics, especially since I'll be filming at night, but maybe I'll try it later on something else. Thanks for your help and support guys, I'm glad I have this messageboard to go to.
 
Sanjin, what is your background aside from putting different lenses on your Red 1?

Do you rent out your camera package? Do you shoot commercials? Documentary? Are you working on anything right now?
 
Zack,

I'm glad the referral contact I PM'd to you at that Samy's store in OC worked out for you. That's where I bought my Tokina 11-16 a month ago - and it was just about the best $550 I've ever spent - love the lens.

Good luck on your project...
 
1Dog said:
Sanjin, what is your background aside from putting different lenses on your Red 1?

Do you rent out your camera package? Do you shoot commercials? Documentary? Are you working on anything right now?
Click to expand...

It appears his full time job is confusing people on this board while at the same time trying to make every stills photography lens on the planet equal to a cine lens in form, function and performance.

Stills lenses have their uses in certain productions, I have several sets, but it is a very limited use for narrative unless properly rehoused mechanically. Glass quality is only half the battle.
 
I think its important to keep in mind that narrative is but one genre among a broad array of genres that RED One (and Epic/Scarlet) has, is, and will be used for...thus all the interest and info on 35mm stills lenses on this forum...and for use in most of those non-narrative genres, re-housing of 35mm stills lenses, and the addition of cine-style accessories simply isn't a necessity, and in many genres they are flat out undesirable for it.

If all you do is narrative, and you just want to use cine lenses, and shoot cine-style, fine, that's your prerogative. Go for it! But there are a ton of us here who shoot in all three imaging disciplines as needed: cine, EFP, and 35mm stills - and our lens needs vary widely throughout those disciplines.

Keeping in mind the diverse genres of production these cameras are used for, there really is no "right" lens type or "wrong" lens type to use on RED One, Epic, and Scarlet - but merely a right or wrong type for each production or portion thereof.

Sanjin gets really experimental with his lenses - but at least he's thinking about diverse possibilities, testing out combinations, and keeping an open mind in his approach to RED. I like that, and I think it helps someone maximize the flexibility and utility of the RED line of cameras.
 
Guys,

don't worry so much what I'm writing, also what I'm doing in my life because as

I said already before it is a sort of "surrealist" approach that trying this (crazy) real world get explained through the moving images :hippie: (!!!? ).

Also I've just got my Tokina 11-16mm F/2.8 ASPH. AT-X 116 PRO DX.

It's mounted on 16:9 Nikon G rotating adapter and then on IMS for Canon EOS on RED1.

Tokina11-16mm1.JPG

Tokina 11-16mm F/2.8 ASPH. AT-X 116 PRO DX on RED1.

Tokina11-16mm2.JPG

Tokina 11-16mm F/2.8 ASPH. AT-X 116 PRO DX on RED1.

A short test hand-held footage shot on RED1 is coming soon (maybe even today at early evening).

Stay tuned.

Also many thanks to Gibby for his kind support and explanation of my experimental efforts here :thumbsup:.
 
No worries Sanjin...

By the way, I agree with Jim Hare's post above. The stock Tokina 11-16 on RED has performed extremely well for me - no weirdness in the footage. Any extreme wide angle lens, when you shoot from certain high and low angles, gives an exaggerated perspective to the shot. I've used my Tokina 11-16 on RED indoors and out, to shoot sports, scenics, people, etc. - with no perspective or motion characteristics I wouldn't expect and get from any of my other wide angle lenses I use on RED.

The Tokina 11-16 is crisp, and has good contrast. It would be an excellent lens for several times the price they charge. I like it, and I use it a lot on RED now - with excellent results.
 
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