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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 are your future lens buying plans

david farland

david farland

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FF35 6K cameras are due to be released in 9 months.

Question:
For those intending to buy a FF35 6K camera, how much more S35 glass will you be likely to buy?

Most existing PL glass will only cover 4.5K or less. Red's Pro S35 lenses will just cover 5K.
As we move from 4K to 5K to 6K your exisitng PL lenses become less attractive.

Monstro FF35 6K Scarlet/Epic is announced for Q1 -2010.
The Monstros will have 3 extra stops over RedOne and a 6K sensor which will result in a full 4K chroma/ 4.8K luma resolution. Nice.

Existing S35 lens or Red Pro lenses obviously won't cover the 6K (43mm image circle)
You'll need to buy Red's FF35 hybrid cine/still lenses or use existing FF35 still Nikon/Canon/other lens...I hope!

What are you going to do?
Dave
 
I think many people will keep their cine lenses and use the FF35 camera but in 4K so you gain the extra dynamic range and can keep the depth of field under control. I see the 6K coming in handy for chromakey. May be very hard to pull focus with that little depth of field your 6K images will be a little soft.
 
So you think 4K with 12-13 stops is enough to theatrical distribution?
Or that some extra pixels won't improve the digital to distribution format transfer process. Personally I don't know.

regarding the tight 6K DOF, I'd expect smaller gears on FF or equipment like View Factors FF where you can (I think in future) adjust focus swing on control knob.

Chroma key will be nice thou....

D
 
david farland said:
So you think 4K with 12-13 stops is enough to theatrical distribution?

D
Click to expand...

David... A RED ONE is good enough now for theatrical distribution... at least quite a few people think so. :-)

Jim
 
Thanks for pointing that out Jim...yes it is good enough for distribution.

But do you feel greater than 4K pixels in acquisition will improve the image in theatres?

D
 
You bring up some interesting questions David. So many choices about to hit the streets.
Of course Jim is right about Reds quality. I've seen what this camera, my camera, is capable of. I know I want the best lenses for R1. That is what I will concentrate on at NAB.

The question I must honestly ask myself is , Do I really need more quality than this camera delivers? Speaking only for myself, I'm not sure. My ego says yes, but my logic is not so sure. My medium is not the big screen. Do I really need 5 or 6K or do I just need to maximize R1's ability with a great prime set.

Part of me wants the newest and greatest. My business side says take your time.

Just my two cents
 
I would like to see 4k on full frame still size imager instead of 5 or 6k. I'd like the benefit of higher asa (500 or more) and the vista vision DOF. After 4k, I don't think resolution is as big a priority as sensitivity. RED's current 250 ASA is a big handicap, especially with night exteriors and mixing with available light.
 
Jim on another thread just brought up the breathing of still lenses again and I'm thinking how much a god send it'll be if View Factor can calibrate zoom lenses via zoom motor control, thru the focus range to eliminate breathing.
Only have high F stops on still zooms to worry about then.

Of course the next convergance of still & cine industries will be the convergence of lens and capture formats. I'm sure you won't get to many arguments form Canon/Nikon!
But how hard can it be. We have FF35 still lenses (with floating element technolgies) and we have all the exisiting cine lens techniques.

Still, as stated many times it's going to be an interesting couple of years for lens manufacturers and how will they go on FF35 lens price will be a key factor in the universal takeup of cine FF35 capture.
hope it goes well for Red as that means it will go well for civilisation.

Much like Jim discovered some 'soft' points in the cine market (& I hope still market...but that yet to be proved) and plugged them,
manufacturers will plug soft points in the technical side of the industry, i.e better focus assists at FF35.

Back on topic....what lenses will you buy?

D
 
david farland said:
Back on topic....what lenses will you buy?

D
Click to expand...

I'll buy all RED lenses. Does my opinion count? We are building the lenses I have always wanted. I'm not buying them because they are RED. I'm buying them because they are better.

Jim
 
Okay,

I'll buy all of them too if you come to our next Red open night.

Dave
 
While I'm waiting for my 18-85mm (#124), I'm now thinking about the RED primes but the question is, why should I buy the primes when I want to go the Epic FF35 route. Better I skip the primes and buy the new electronic lenses in 12-18 months or so?
 
Flyer is about to go out for next Red night on 29 April @ UTS. speakers will be Warren Lynch-colourist for Lord of Rings/Nothing Men (RedOne) &
Tom Gleeson-DOP for Happy Feet and a swag of Red shoots.

D

ps: and hopefully Jim....
 
and I forgot George Evatt whose just designed/built a great underwater housing for Red.

D


ps: back on topic...how many Red s35/FF35 lenses aren't you going to buy.....mines none!!
 
Hey Dave,

Yep, I'll be back from the U.S. and can speak about multi-cam and show examples of the shoot last month.

6 Reds, 12 hours of footage, 2 days to have the entire show processed and edited!

Jim

Or did you mean the REAL Jim? :beer:
 
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