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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 :)

What about a 25-250 zoom ?

R

Rodrigo Lizana

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It would be good to know if Red is planning to develope a zoom on the range of the 25-250 HR or 24-290 Optimo.
 
I wish that too. That kind of zoom would be a very nice companion to a prime set . The available options today are too expensive : HR and Optimo aren´t cheap glass but both of them are wonderful lenses to work with.
 
Rodrigo Lizana said:
I wish that too. That kind of zoom would be a very nice companion to a prime set . The available options today are too expensive : HR and Optimo aren´t cheap glass but both of them are wonderful lenses to work with.
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we have two 25-250 angenieux and are really happy with these beasts.
With f3.2, they could be a little bit faster, but their imagequality is so good that we never considered buying another zoom till today.

designing, and building, complex zooms is expotentially more complex than primes, or shorter range zooms.

angenieux even builts 72x zooms: 9-680mm (or 1360mm with extender) is their longest iirc.
 
The Optimo is an amazing lense. I shot a commercial exclusively on it as it was just so sweet.

Now if Jim can come up with an alternative for a couple of hundred $'s :w00t:

Mike C
 
Yes I love the HR and I was about to get a used one this year but after buying a full set of prime lenses and seing a month after that Red was announcing their primes at a fraction of what I pay for the ultraprimes, I decided to wait and see if there were any Red plans for a big bore...
We´ve been cutting the HR with ultraprimes and they work as well as the optimos. They just breath more and are a bit slower but for half the price !!.
 
I see a possible option for long lenses to go with the 50-150 zoom as a 200 f2 prime with 1.4x and 2x dedicated extenders. This would give you a 200 f2, 280 f2.8 and a 400 f4.
 
What´s nice of the 25-250 range is that you have the whole range in one lens. With a 50-150 you need another lens to cover the wider shots. The 12x Optimo and the HR are many times the only lens on set. Another great thing of that range is the possibilty to zoom in from wide to close up.
 
I'm always a bit nervous of shooting with only the zoom due to the lack of a wide end and sometines cover this bit with a 21mm and an 18mm prime.
 
Could you not use the Existing 25-250 with good results?

Could you not use the Existing 25-250 with good results?

I thought Existing film lenses would still be OK with this camera body?
 
snowmotion said:
I thought Existing film lenses would still be OK with this camera body?
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Hi,

There are many old poor quality 35mm film zooms around. A lot depends on your definition of OK.

Stephen
 
And many old good quality 35mm zooms are too slow. The problem with modern zooms in that range (angenieux) is their price.
 
snowmotion said:
I thought Existing film lenses would still be OK with this camera body?
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They'll need to be PL mount, but yes, existing film lenses should work OK. But keep in mind that RED has developed their lenses as digital cinema lenses optimized for use with the Mysterium sensor. That said, if the RED lenses are good lenses, with good glass, designed specifically for use with a digital sensor (Mysterium), then it could be that the best images you'll get with a RED One camera will be with the RED lenses. We'll know a lot more about that shortly at the LART tests.

I think a lot depends on the "look" you're after for each production. I've always liked the results from Cooke lenses - just a personal thing. But I've reserved every lens that RED has announced because of the factors I mentioned above. I think RED lenses will "dance" well with the rest of the RED One camera system. I'll also use Cooke when I need that look, and I'll use 35mm still lenses extensively too. I do a wide range of production genres, and one of the first things I do when planning a production is evaluate the "look" and production values that best illustrate the story to the viewers, while also satisfying the mobility (or lack thereof) needs of the production. That decision involves deciding on the lenses to be used. What I don't have in my kits, I rent.

BTW - I'd love it if RED announced a 25-250 zoom. A three-zoom kit of RED 18-50 CF, RED 50-150, and RED 25-250 would cover a lot of options. Add in the RED prime set, and it would be a good RED-optimized lens array. Then again - I'm an admitted "glassaholic"!

BTW #2 - Matt, you'll get to test out a RED 18-50 CF on a RED One camera at LART (and many other lenses also)
 
Gibby, could you try and get a Cooke Zoom, 18-100 if possible (15-40 CXX would be even better) and shoot comparitive tests against the two Red Zooms. I'm hopeful that I can tell my clients that the Red Zooms will be both similar to Cooke lenses but also color matched to quite a high degree, so that mixing Red Lenses and Cooke Lenses is a very good solution. If you could shoot something other than charts that'd be a good indicator too.

Thanks mate.

Paul
 
Definitely Paul...

We're working on the lens lineup right now. With four cameras available to LART now, that gives us a lot of lens options. Some of the LART team have lenses, and some rental companies have offered to loan us lenses. The Cooke 18-100 and 15-40 CXX are high on our list of lenses we'd like to put on a RED One. We'll also test several 35mm still lenses and possibly some B4 2/3" HD lenses if an adaptor is available to us. I believe the only RED lenses that will be available when the cameras ship are the 18-50 CF zoom and the 300mm tele. I've resrved both of those, so we'll be able to test them.

Our testing philosophy is the bottom line question: "How does the footage look?" We'll do some technical tests (charts, etc.), and definitely test out the technical specs of some lenses, but we'll shoot a lot of real world footage with a variety of lenses, setups, and styles, in natural light and artificial light. Tech specs are interesting...but IMO not nearly as interesting as the aesthetic results of the footage. After all...that's what the audience will see. Analyzing aesthetic qualities is necessarily subjective, but with so many talented production people on the LART team, the collective opinion on the footage aesthetics will be a very educated opinion. We'll go left-brained when we need to for pragmatic tests...and then concentrate on the right-brained evaluation of aesthetic qualities.
 
I heard some rumours that angenieux is planing to build an new line of "red" lower cost lenses. I have no more details yet - but maybe they think to make a
(L)o(w)ptimo......
they recoginzed, that with red they could do make some more business !
 
That would be great if they did. If I was them I'd produce a high quality/low cost zoom say 12-35mm, colour matched to their optimos, and market it to the Red community. If users were to buy that zoom they'd be pushing the use of their optimos. Would be quite a good marketting ploy for increasing the demand on their other lenses.
 
ludmux said:
I heard some rumours that angenieux is planing to build an new line of "red" lower cost lenses. I have no more details yet - but maybe they think to make a
(L)o(w)ptimo......
they recoginzed, that with red they could do make some more business !
Click to expand...

Angenieux 35mm however is pretty sold out, last time i checked they had almost 8 months delivery. However, with a little luck one can find used 25-250 Angenieux at 5-10.000.

For those who speak german, a colleague recently completed a in-depth Pierre Angenieux Article in the German wikipedia.
http://de.wikipedia.org/wiki/Pierre_Angénieux
 
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