Which first PL Glass should I buy?

[Evin Grant]

Used Arri Standard Speed T2.1 Primes

This! Martin should know, he has my old set which I miss dearly.

 

[Kirk.Attard]

Has anyone tested the new sony primes? I.m leaning towards the xenons but its good to see whats available. What do you guys think about the new allstar prime.? If it doesnt breath much it might be an option too. I.m not too keen about rehoused glass but its nearly half the price of other pl glass. And the sigma lens it uses is pretty good. Might even be similar to the rpp infact.

 

[Phil Holland]

Has anyone tested the new sony primes?

I have had a look at them on 3 separate occasions now. It's the best that Sony has done when it comes to their cinema primes. A much more inspired effort than their previous offerings. Compact, decent build, they breath slightly.

However, after testing everything that's out there I went with the Cine-Xenar IIIs for about two handfuls of reasons. Most come down to breathing, mechanics, close focus, and the rather lovely out of focus image. They fit my needs in terms of technical merit and image aesthetic. However, your needs and wants could be different than mine. Besides pure image quality lenses at some point need to be a decision on what you "enjoy".

I'd implore anybody who's looking to purchase a set of lenses to go shoot with them yourself so you know exactly what they can do.

 

[Phil Moreton]

Hey Guys,

sorry I could not chime in when this discussion grew, damn timezone.
I appreciate all the feedback. I did start to overlook my business plan and got distracted more by aesthetics.
Having said that I want to get a good balance.

Phil from your estimated dragon data, it looks like the Alura 18-80mm should cover at 5k cleanly, do you agree?

I think for what I currently need due to speed on set, range and the look I can afford...I think this time around it will have to be the Arri Alura.

I then plan to save on getting the Xenons but probably not till a wider one is released.

 

[Phil Holland]

Phil from your estimated dragon data, it looks like the Alura 18-80mm should cover at 5k cleanly, do you agree?

Absolutely and then some. Probably fine until a smidge after 5.5K on Dragon. We'll have to test all that out though.

 

[Phil Moreton]

Absolutely and then some. Probably fine until a smidge after 5.5K on Dragon. We'll have to test all that out though.

No of course, I appreciate your reply.

i think I'll have to invest in a new head and legs soon with the newly added weight.
Phil, are you still using your 509HD. I own one too, but I think the weight of the Alura would now push the weight on the head too much.

Thanks.

 

[Phil Holland]

No of course, I appreciate your reply.

i think I'll have to invest in a new head and legs soon with the newly added weight.
Phil, are you still using your 509HD. I own one too, but I think the weight of the Alura would now push the weight on the head too much.

Heh. That's what I did.

Things have changed much recently in my support realm. Here's what I currently own and use:

- OConnor 1030D + 30L (my primary choice)
- Libec RSP-850 (RHP85 + T103B Legs - using this for a couple weeks now)
- Manfrotto 509HD + 536 Legs

All fairly portable 100mm bowl systems. For big bad scary lenses the go to in the industry is the OConnor 2575 or 2060. That's been the "truth" for a while.

Nearly added a Miller or a Sachtler to that, but I'm good with 3 fluid heads and tripods for now. They all fight over my one camera

Everything is rigged with a dovetail plate to speed up setups.

 

[Hans von Sonntag]

The Angenieux 16-42 is a marvellous and handy lens that covers a lot. It is very sharp, has very nice flares, is mechanically very well build, and thus has a outstanding good resale value.

Use it daily.

Hans

 

[sergio arguello]

no mention of leica R cinevised? i personally rather have a really complete set of summicron,summilux glass than the ultra sharp RPP, or cp2 (which are rehoused ZF's) or a fraction of a set of some of the newer stuff. but that may just be me.

 

[Martin Stevens]

This! Martin should know, he has my old set which I miss dearly.

Thanks again Evin! The lenses are great to say the least.

How is your "Sand" project going?

 

[David W. Jones]

I think my first consideration would be, does this lens purchase need to reflect what you had been renting to meet client needs, or will you still rent for those situations, and are you wanting something which will cut nicely with your rental pkg, or are you looking for something completely different look wise? I would also consider my locations/crew size ratio when working with larger heavy zoom lenses and smaller/solo crew. To maximize dollars spent, something else I have been considering when examining future lens purchases besides sensor size coverage, are changeable lens mount systems, like the CP.2 rather than a fixed PL mount.

 

[Ryan De Franco]

It seems you're settled on the Alura. Great lens and also probably the most rental - friendly out of the lot. Obviously excellent for commercial work but not so hard and clean that it couldn't replace a set of S4s with some creativity (and a little extra light) on a comedy etc.

Also there's one for sale here on reduser.

Just found this test footage, please ignore the terrible post slow-down and super lame opening three minutes. Ignoring all color and contrast considerations as who knows how it was graded, I feel like this video shows off a few great things about the Alura:

- a. at 03:00 (also the vimeo opening still), the flare is really lovely and balanced. with the sun low in the sky and right in frame--just the right amount of veiling flare, and a nice streak for the sun, no 70s style zoom-lens "caterpillar bokeh." (disclaimer that sun streak could have something to do with the Alexa sensor chamber.) best of all, when the focus is right, all that floating dust is still visible and just crisp enough. the lens seems to stay sharp and not too muddy even with the sun smashing down the barrel.
- b. opening shots are fine, great, whatever, but the family riding on the horses is just plain shit. in my gut it seems less painful to look at then if it had been shot with ultra primes or CP2s or similar--like Cookes, the Aluras seem to throw you a bone on the shots you just have to get in order to move on to the ones you've been thinking about since you read the script.
- c. with the kids jumping on the trampoline, the bokeh in the background has no business being nice--it's sticks and tiny leaves, the ultimate stress test--yet zoomed in it looks amazing (03:57)

I have not shot with it for interiors or anything that would show evidence of barrel distortion at 18mm--anyone know how it looks in that territory?

good luck Phil!

 

[Evin Grant]

Thanks again Evin! The lenses are great to say the least.

How is your "Sand" project going?

Been on hold for a year because of the birth of my first child but we're shooting the pick-ups and VFX plates in early August and I hope to have it done and ready for festivals by the end of the year.

Phil,
Although the 18-80 Alura is a fine professional lens I would caution you against having an "all-in-one" zoom that cannot be hand held or conveniently used on a steadicam. Unless you know your work is going to be exclusively tripod/dolly or you're willing to rent for those other scenarios then you are limiting your creative options to some extent.
I have the two Optimo DP zooms and they are a perfect combo for about 90% of everything I shoot. Another option I would recommend is to find a used 18-50 RPZ and get a GL Optics 70-200, that combo is cheaper and very good for the $ while being flexible.

 

[Nils J. Nesse]

I have a set of RPPs and an old Cooke 20-100.

The RPPs are perfect when I want a sharp, clean, modern look.

The Cooke is perfect when I want a more organic, vintage look. And when I want to zoom...

You can probably get both, a set of used RPPs and the Cooke, for the price of an Alura 18-80.

 

[Martin Stevens]

Been on hold for a year because of the birth of my first child but we're shooting the pick-ups and VFX plates in early August and I hope to have it done and ready for festivals by the end of the year.

Thanks for the update on SAND.

Also, for a Zoom I bought a Red 18-85mm Zoom and I think it is great!
Best Cine Zoom lens for the price I have ever seen. I paid $6000.

 

[Phil Moreton]

Heh. That's what I did.

Things have changed much recently in my support realm. Here's what I currently own and use:

- OConnor 1030D + 30L (my primary choice)
- Libec RSP-850 (RHP85 + T103B Legs - using this for a couple weeks now)
- Manfrotto 509HD + 536 Legs

All fairly portable 100mm bowl systems. For big bad scary lenses the go to in the industry is the OConnor 2575 or 2060. That's been the "truth" for a while.

Nearly added a Miller or a Sachtler to that, but I'm good with 3 fluid heads and tripods for now. They all fight over my one camera

Everything is rigged with a dovetail plate to speed up setups.

The payload of the Oconnor head is the same as the 509HD. Would you say this accurate?
What's the heaviest rig you have put on the Oconnor? Would like to get your personal insight on that head if possible.

thanks.

 

[Phil Moreton]

Thanks for all the feedback guys. It has helped a lot. I'm going to do some tests with some red pro primes before I make a decision, and then hopefully do some comparisons with the Alura 18-80, red zoom 18-85 and the cooke 20-100.

I read once that the red lenses were rehoused glass. Is this true? I've shot on the 17-50mm and I remember it breathed quite badly.

I'll let you guys know my decision when I've managed that.

 

[Phil Holland]

The payload of the Oconnor head is the same as the 509HD. Would you say this accurate?
What's the heaviest rig you have put on the Oconnor? Would like to get your personal insight on that head if possible.

I haven't owned this one long, but I've had 28lbs up there a few times. I haven't done a full bore stress test yet. It will hold up to 39lbs depending on your center of gravity and camera height. I mainly purchased this for rigs in the 15-30lbs range, which is what I'm using the vast majority of the time. I would buy this head time and time again because it's just a lovely move throughout.

The Libec RSP-850 goes up to 44lbs comfortably, but again I haven't stressed test too much. I'd recommend this to anybody considering something in the Miller/Sachtler range. I was more than shocked by the quality of it.

Most of my lenses fall in the 6-ish or smaller lb range and that's where my kit is focused.

 

[Evin Grant]

With tripods I recommend going at least one size up from your expected maximum weight rating, for instance if you are routinely running a 25-30lb rig then the 1030 series can handle it but only at the end of it's range where it's performance will suffer, you're much better off with a 2060. I use a 2575 for everything except travel, where I use a Ocon DVS, which maxes at 35lbs but I only ever put about 20 on it.
When it comes to tripod heads I think having more capacity is always preferred. Other than the lens very few other accessories directly impact the image quality of the shot like your tripod head.

 

[Phil Moreton]

I haven't owned this one long, but I've had 28lbs up there a few times. I haven't done a full bore stress test yet. It will hold up to 39lbs depending on your center of gravity and camera height. I mainly purchased this for rigs in the 15-30lbs range, which is what I'm using the vast majority of the time. I would buy this head time and time again because it's just a lovely move throughout.

The Libec RSP-850 goes up to 44lbs comfortably, but again I haven't stressed test too much. I'd recommend this to anybody considering something in the Miller/Sachtler range. I was more than shocked by the quality of it.

Most of my lenses fall in the 6-ish or smaller lb range and that's where my kit is focused.

So you would say that there is a considerable performance difference with the same load that you would put on a 509HD vs the 1030D.
I of course would imagine there would be, but both heads are rated at 30lbs.