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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 :)

Widest Wide-Angle Lens for SCARLET at 2K

Brian Iannone said:
Thanks everyone for the suggestions. But, would anyone happen to know of any current Canon EF mount lenses? :)
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We got a Sunex 185 degree lens that we modifed to pl... Those are not rectilinear but cost a few hundred dollars only.. It is quite easy to rectify the footage in post.
Also I think you will find yourself happy without the HDRx 95% of the time... the range of these cameras are quite amazing as they are, even when only shooting one pass. Also to me 2k does look only half a good as 4k and I would stay away from it as much as possible... for a fact 2k is 1/4 as sharp, has 4 times the amount of noise, a quarter the DOF and on top of all that I find it ugly. The only 2k benefit except the HDR would be the extra fps...

But on the epic I found that I can shoot 98fps 5K and then use motion estimate timewarp in post to slow down most material to a complete stop without much errors... That solution is also demanding a lot less light and improves picture quality in low lights a whole lot. See a test I did a few days back, it was done in bad daylight, for a fashion shoot we have next week:
The test was to see what frame rate we would need to be able to ramp to a complete stop. But while I was fiddling with the material in the Flame it was quite clear that I could stretch the 100fps shot of the guy jumping to infinite fps most of the time and the 200fps 4KHD was pretty much possible to rubber band to any speed with out any artifacts... but it's offcourse depending of what you are filming... bullets coming out of guns will always demand the super sonic stuff.. :)

http://www.syndicate.se/Files/~usr/film/speed_test_mpeg_4.mov
 
I don't think it's clear what kind of stuff you plan on shooting... so..

fwiw, I have been extremely happy with the Tokina 11-16. The fact that's it's f/2.8 is important, and its really feels very sharp. I believe in whatever tests lens folks love to do, the sigma did come out 'sharper', but the aperture is about two stops slower! And both lenses suffer from some chromatic aberration, especially at the widest settings. It does have a small amount of barrel distortion, but not enough to care.

my opinion: if you want cheap but good lenses AND are willing to give up HDRx (or shoot at 24fps for that). Get the canon EF-S 17-55 (or sigma 17-50), and supplement it with the tokina 11-16. at 4k that should cover you from extremely wide to slightly long. You'll have relatively fast lenses (so you can shoot in more natural light or decrease your DoF) and you should be set. In fact, I'm guessing the 17-50/55 lens is what you're most likely to be shooting with almost all the time... And if you do decide to switch to 2k, you will have wide to long.

However, keep in mind what a bitch it is to focus pull with those lenses, especially at f/2.8. If your aim was 'moving camera documentary style' I'd probably say this is the wrong camera. but if you REALLY love it, then yeah shoot at 2k at the highest f-stop you can get away with, to avoid having to deal with focus while you're running around.
 
Yoav Yerushalmi said:
However, keep in mind what a bitch it is to focus pull with those lenses, especially at f/2.8. If your aim was 'moving camera documentary style' I'd probably say this is the wrong camera. but if you REALLY love it, then yeah shoot at 2k at the highest f-stop you can get away with, to avoid having to deal with focus while you're running around.
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Thanks for the advice! I do plan on doing documentary-style projects, however I'm never going to be hand-holding the camera. It'll always be on a tripod, crane or slider.
 
I'm liking the specs of the Sigma 8-16 more than the tokina, the German tests I saw do show that it is sharper overall, and this is even more important when you are cropping more and more.
I guess I'll wait until I get the scarlet, as it's usable ISO is still a bit mysterious to me, and the extra stop+ of the tokina may come in handy.
Most of my photography uses HDR ,including portraits, so I too am interested in the hdrx mode, but like another member mentioned, the raw dynamic range can go far on these cameras. My portraits are using some HDR tone mapping processing, and those are from single raw files as well. Jpegs are the h264's of the still camera world, Raw rocks, both in stills and moving images!
-Les
 
Jeff Kilgroe said:
...even though 90% of all DSLRs are APS-C (Super35) size...
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Really?
At least all professionals I know or have seen have used FF after Nikon released D3.
Disregarding sports shooters that use 1D3 or 1D4.
 
Nikon 6mm f2.8 + Canon adapter :biggrin5:

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Jokes aside, Tokina 11-16 will do great. You can even get a PL version from Duclos, more futureproof
 
I have the Tokina 11-16, love it! It's as wide as you need without a special fish eye style application.
 
We have a Tokina 11-16 on order and I can't wait to play with it on both the 5D and our Scarlet when it comes. We joined the waiting list for a PL version from Duclos as well since I think in the long run we're likely to move over to PL glass for motion.
 
I second the Tokina 11-16, Duclos is offering it 'cinefied'.
 
2k crop factor calculates out to 3.24 horizontal, not 3.9.
2k on the RED S35 MX sensor is slightly wider than 16mm at 11.1mm vs 9.6mm for 2/3"HD and 3.75 crop.
8mm range is pretty wide.
 
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