Best Canon L lenses 4 RED [Archive]

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KETCH ROSSi

04-01-2007, 06:33 PM

Hi all,

well since this thread was revived out of no were, hehe I'll update it with pleasure.

I currently have a Canon eos 1Ds mark III, a very demanding camera on lenses do to its FF sensor, anyway.

In my experience, now updated from the original, this is what I believe today:

CANON EF PRIME LENSES:

Canon EF 15mm f/2.8 Fisheye: This lens is the fastest Fisheye lens to be use on a 35mm SLR and produces great images very easy to correct in rect. and is incredibly sharp, fun and creative to use.

Canon EF 14mm f/2.8 L II: This new replacement lens is exceptionally good, very sharp, vignetting and CA incredibly well controlled for a lens this wide, and Canon unfortunately has been known for not been very good with wide angles, but this one Shines!

Canon EF 24mm f/1.4 L II: This lens is about to become available, but I already know from fellow photographers which have been part of the Canon testing team, that this lens is a fantastic replacement of the 24L I.

Canon EF 35mm f/1.4L USM: This lens is the absolute best wide angle lens, very fast, very sharp, no cromatich aberration and no flare.

Canon EF 50mm f/1.2L USM: This lens is second to none in this focal lenght, super fast, fantastic sharpness, cromatich wath? This lens performance is matched only by my other lens the:

Canon EF 85mm f/1.2L II USM: This lens not only is super fast and sharp as a razor but it has a boquet that is just movie like, a bit heavy lens because of so much glass but worted carryng.

Canon EF 135mm f/2.0L USM: This lens has also an icredible and beautifull boquet, and it is considered the best telephoto lens not only by me, the colors and the back blurr to die for.

Canon EF 180mm f/3.5L: This Macro lens is just amazing, very slow, but image quality is great, and the level of detail it produces is just beautiful.

Canon EF 200mm f/2.8L II USM: This lens comes very close to the telephoto super quality of the 135, and gives a bit more distance for a more pronaunce boquet, also is more forgivness for protrait shoots.

Canon EF 200mm f/2.0L IS: This is surely become my absolute best and most favorite lens, it is BIG! But if you can carry the weight the rewards will be fantastic, the Bokeh this lens produces wide open are just stunning as I have ever seen!

Canon EF 300mm f/2.8L IS: This lens is of size and weight similar to the 200 above, not as fast but and there for the Bokeh differs but it is helped by the additional 100mm and at 2.8 is still very fast, great lens.\, one of the sharpest super telephotos.

Canon EF 400mm f/2.8L IS: This one is just a monster of a lens not only it is the king of the photography world but it acts like one, beside benn super heavy, it is just a marvelous piece of glass, lots of glass, quality in color, sharpness, boquet, speed and flare controll are just amezing.

Have not used the EF 500mm, EF 6000mm and the new EF 800mm, but to what I have seen from fellow photographers this Super Telephotos series are all equally good, just much slower.

Also I use this lenses with magnifing glass, stunning.

Canon EF Zoom lenses:

Canon EF-S 10-22mm f/3.5-4.5: This little baby, is an amazing lens and after the 15mm Fisheye, I think is the only other lens that I will not esitate using on any shoot, just that good.

Canon 16-35mm f/2.8 L II: this new replacement lens is great from 16 to 24 but a bit soft from 24 to 35, still a great wide angle zoom.

Canon EF 17-40mm f/4. L: This one is a bit slow but still talked and compared to the newer zooms, and yes is that good, and very sharp, just a bit slow.

Canon EF 24-70mm f/2.8L: This lens is one of the most popular zooms among Street and Portrait Photographers and well know for its 3D look.

Canon EF 70-200mm L ALL MODELS, IS AND NONE IS: This lenses are the absolute most popular ones on the line of CAnon EF lenses and it is for a reason, they are just fantastic lenses, and are superior to any other zoom.

They are for sure other great lenses in the Canon EF line, but none will match the image quality of the above mentioned, and remember if this lenses have been performing great on a FF will perform stunningly well on the Cropped sensor of the RED ONE!

The Red for me it is a very special arrival, I imagine it is the same for each one of you, but I died once without the possibilytie to make my dream project, so now in this second chance to life thanks to Jim and the RED camera I will have my shoot on making my only dream come true.

See you all at NAB, will be there 16-20, also I like to give the opportunity to those close to me to come and try the lenses for them selfs if they wish to, and you are welcome to request specific test of this lenses.

Ciao

K E T C H ~ R O S S i
Philantropher - Director - 3D Specialist
DoP - Producer - *CinePhotographer
_____________________
EPIC M8 + 1 & ATOM 3D
FS: MASTER PRIMES

KETCH ROSSi STUDiOS (http://ketchrossistudios.com/)
*CinePhotographer is a "Trademark of RED DIGITAL CINEMA"
NOTE: We are ONLY Brokering RED ONE cameras which have NO PENDING Stages, and or EPIC cameras which have already been delivered!!

Andrew M.

04-01-2007, 07:06 PM

Great, run down on Canon lenses!
When you will be doing some tests, could you print this on your printer and make some photos of it at the edge of the frame.
The best is to print it on 685mm X 190mm image size, 10X27 paper size.
http://www.normankoren.com/Tutorials/Lenstarg_50_5906p_15g_25is.png

Also check this:
http://www.normankoren.com/Tutorials/MTF5.html

KETCH ROSSi

04-01-2007, 08:35 PM

Evin Grant

04-01-2007, 08:40 PM

Bear in mind you will have to wait till Birger engineerings EOS mount comes out to use it on the Red one. Red itself is not making a Canon EOS mount only the FD manual focus mount.

Mike the beginner

04-02-2007, 06:18 AM

Hi KETCH. Eric at Birger Enginering will be at NAB so try and get to speak to him. This is exciting stuff with what looks like great lenses.

A big thanks to our lens maestro Evin, you are so informative/helpful:biggrin:

Mike the beginner

Andrew M.

04-02-2007, 08:34 AM

Hi Andrew,

Good links, form my self I prefer to stay less technical and more ands on image it self, i will soon do same shoots with all my lenses and post them so you guys can make your decision based on the quality of the photos and not to a multitude of specs that not all of as can understend or care to.

Ketch, at minimum take one or two pictures on each lenses of high contrast objects.
Snow, mountains, buildings with vertical high contrast features, inside church or castle.
Taking the pictures of the trees (green on green) or full of green parks is difficult to evaluate.
Skeen tones and blue sky together is always good.
Don’t forget about far ends of the frame and corners, get some high contrast details there.

KETCH ROSSi

04-02-2007, 12:28 PM

Hi Mike,

Thanks, I will definitely want to talk to them, Canon for me is the only ansewr, anless I refinance the house and get 3 Arri/Zeiss or 3 Cookes.

Andrew, I will take and post as many shoots as I can, just give me some time to finish anpacking, still finishing up my new home, but I will take sevedrall variation to show B&W's, contrasts of color in different day time to consider the kelvin variation given by the change of the sun and I will try to get heavy contrast in colors and back grounds, like flowers, palm trees, grass against flowers, home structured landscaping with lite color configurations and so on, trust me wen I say you all will love the resolts of this lenses, trully the only better resolts you can get is with the S35's from Arri/Zeiss or Cooke's, but the price tag is up to 10 times that of the best Canon L lenses like the ones I have, aside the $6,500.00 EF 400mm f/2.8L USM, so lets hope and push the solution for the use of this lenses with our Red's.

Ciao,

KETCH ROSSI

Martin Jäger

04-05-2007, 04:39 AM

KETCH ROSSi

04-05-2007, 09:28 PM

I really hope that birger will make us happy very soon - for me canon
is lens heaven..

I allready have the 24-105 4 L and i plan to buy the following three lenses:

14mm 2.8 L
35mm 1.4 L
200mm 2.8 L

any coments on that? i have no clue about the sharpnes and color of the 14mm

ok now my question:

am i correct with my calculation: i'm deviding the view-angle stated by canon by
1.6 and i'll get the resulting angle for the red sensor? (i have a 10D DSLR (22,7 x 15,1 mm)
> pretty close to the size of the mysterium (at least horizontally and in 35mm mode)...

thanks for any hint

martin

Hi Mrtin,

the 14mm is a great lens but not as should be for the price tag it carries, some problems with this lens is on the flaring and not being very sharp at corners, this still remaines a great super wide angle lens for any digital camera in the eos body, excluding the 5D, 1DIII and 1DSII, for this cameras the lens is put to the test and again the performance for the money it is not in the best score in its favor, a second generation it is do shortly so do not by the 14mm now, I my self got the 12-24 second generation from Sigma, great lens, some photos are do nex weeck on my web site: www.KETCHFRAME.com, I will be shoting also the 35mm f/14L,
the 50mm f/1.2L, the 85mm f/1.2L II, the 135mm f/2.0, the 200mm f/2.8L II and the 400mm f/2.8L so check them out soon I hope to have them up before NAB.

The 35mm f/1.4L is a perfect peace of glass I love this one and you will see it soon, so get this one no doubt.

The 200mm f/2.8L you must get the second generation the 200mm f/2.8L II, a fantastic telephoto lens, a boquet that will give any model in front of it a pleasing look, so also get this one.

Ciao,

KETCH ROSSI

Martin Jäger

04-07-2007, 04:44 AM

well - ok - what better alternative would there be if i wanna have more
then 100° fied of view? (not even the 14mm get's close there..)

did you think anout the angle-conversion? i calculated a 71° angle for the 14mm on the mysterium chip... (?)

looking forward to your testshoots.. thanks
martin

KETCH ROSSi

04-07-2007, 09:56 AM

Hi Martin,

at this time the alternative and best superwide angle lenses for Canon Ef are the Sigma 8mm EX DG for Canon Ef 35mm, the 12-24mm also by Sigma or the Canon 15mm fisheye, you will see test on bowth of them soon.

The Sigma 8mm fisheye has 180 degrees

The Sigma 12-24mm rect. has 122-84.1 degrees

The Canon 15mm fisheye has also 180 degrees

The absolute best in superwide angle are the destorted fisheyes 8 and 15mm, but you have to be willing to do some post.

Ciao,

KETCH ROSSI

Ronnie Silos

04-10-2007, 08:26 AM

The only other lens I would add to this list is the 200 1.8 which I use all the time for indoor sports/no flash. I too swear by the 35 1.4, 50 1.2, 85 1.2, 135 2.0, as well as my favorite 200 1.8 sometimes in combination with an extender 1.4x where you only lose 1 stop and get almost a 300. I've spoken with Erik of berger Eng. through email and we should get together with him at NAB. He will be there with some announcement in support of the Canon EF lenses.

KETCH ROSSi

04-10-2007, 10:05 AM

Ronnie Silos

04-10-2007, 03:10 PM

Hi Ronnie,
this sounds good, lets try to shoot for the day to see each other at NAB, if the use of this lenses becomes possible it will be great especially now that I do not think buyng any cooke's or Arri/zeiss lenses.
Ciao,
KETCH ROSSI

Hi Ketch,

I will look for you and Erik at NAB. I will be there Early Monday morning and will stay until Tuesday evening. Hopefully there is a res holder's gathering place so I can find you easier. I'll be holding my R - this should narrow it down to about 1000 people. :ph34r:

KETCH ROSSi

04-10-2007, 05:31 PM

Hi Ronnie,

Well is 1,475 to be exact, or I believe it is, I will be wearing the KETCHFRAME pass card, easy to spot and I hope that tere will be a gatering some were for as to meet each other and talk about our projects, also check out my tread on Offtopics about ligths"FILMGEAR VS. ARRI... there is if you are in need of lights in the future shoots with your RED.

And yes the EF 200mm f/1.8L is a fantastic lens, I do not have one but if I was to find one for sale I will by for sure.

Ciao,

KETCH ROSSI

planet e

04-22-2007, 09:00 AM

i have a canon 200mm f1.8, and it is a phenomenal lens. its reputation is well-deserved. i have the canon 70-200mm f2.8 as well, and it is always a challenge to decide which lens to bring, trading portability for enhanced image quality is never easy. i can walk around a 70-200 but forget working the big prime lens without a stabilizer.

i too am very interested in what birger engineering has up its sleeve. i gave some consideration to swapping out all of my canon still gear for nikon still gear, but if the EOS hack works out, i may not have to...keeping my fingers crossed.

KETCH ROSSi

04-22-2007, 10:58 AM

It will,

Birger and RED have made an agreement, so there will be soon an electronic controlled EOS mount!

Ciao,

KETCH ROSSI
www.KETCHFRAME.com

Martin Weiss

09-08-2008, 02:43 PM

Birger and RED have made an agreement, so there will be soon an electronic controlled EOS mount!

Time sure does fly... ;)

Ketch, are there any new/other lenses you would add to your very helpful list of Canon lenses.

And given the IMS solution, are there any non-Canon lenses that you would add to the mix?

Sanjin Jukic

09-09-2008, 01:42 AM

The best Canon L lens is the lens that you can use today on RED:

Canon 50 mm f/1.2 FD L Tungsten light test - IMS on RED ONE>>> (http://www.reduser.net/forum/showthread.php?p=281999#post281999)

http://homepage.mac.com/sanjinjukic/RED/IMS_Canon50mmFD_L_01.jpg
The Vienna Secession Building (http://en.wikipedia.org/wiki/Vienna_Secession) shot on RED at a night available light using Canon 50 mm f/1.2 FD L lens on IMS mount, at wide open f/1.2, 320 ASA,
K 3200, shutter speed 1/32, Color Space: RED Space, LUT/Output Gamma: RED Space, processed and rendered as QT H264 in RED Alert, no any CC applied.

http://homepage.mac.com/sanjinjukic/RED/IMS_Canon50mmFD_L_02.jpg
Canon 50 mm f/1.2 FD L lens on RED ONE with IMS mount.

The Vienna Secession Building 2K short video>>> (http://homepage.mac.com/sanjinjukic/RED/IMS_Canon50mmFD_L_01.mov)

Dave Blackham

10-06-2008, 01:34 AM

KETCH ROSSi

10-07-2008, 07:41 PM

Time sure does fly... ;)

Ketch, are there any new/other lenses you would add to your very helpful list of Canon lenses.

And given the IMS solution, are there any non-Canon lenses that you would add to the mix?

Hi Martin,

just edited the post 1.

ciao

KETCH ROSSi

10-07-2008, 07:47 PM

Does any one have views on the following lenses and suitability for use with Birger mount.

16-35 f2.8 MK2
24-70 f2.8
70-200 f2.8

Sigma 12-24

Im also interested in the Viewfactor Impero control system with the birger mount and the Canon Zooms.

thanks for the advice.

Dave
UK

Please revisit POST 1, Updated.

The Sigma EX 12-24 mm - f/4.5-5.6 DG HSM for Canon EF: Is a great lens, but I would seriously look at the EF-s 10-22 before diving in to the Sigma world, as it has too much inconsistency in the quality of each lens, but if you do find a good copy then by all means keep it, they can be very good.

ciao

Dave Blackham

10-07-2008, 11:45 PM

This is very useful thanks.

I will definitly use the zooms as I have Canon Still equipment but need to update lenses.

How well do the primes match for inter-cutting in a movie.

Dave
UK

KETCH ROSSi

10-08-2008, 09:15 AM

My pleasure.

Intercutting Primes with Zooms, both for Stills and for filming depends on the Prime and the Zoom in Q?

Some have more subtle differences then others, but to most in all truth the differences when using the Above mentioned "L" series Zooms, will be very hard to see.

ciao

Dave Blackham

10-09-2008, 12:27 AM

What about the matching of the Canon L primes ?

Id want to go 14,24, 35, 50, 85, 135 but possibly add the Zeiss 21mm 2.8 Distagon and possible a 60mm or 100mm Macro, and Im not sure that to do to go wider than the 14mm. At the the wide end its obvious that lenses are hard to come in large apeture by to cover the requirement unless EF-S lenses are used notably the 10-22 and that's a zoom anyway.

Also if as we think may happen that we shoot for TV HD in 2k (DOF and ability to access the higher frame rates) for much of the work then this becomes even more important. Are there any wide primes that would match to the L glass that is of the same optical and quality of build.

One really good aspect of the L glass we do want to use the Electronic interfaces (Birger, Viewfactor etc) for the lenses for iris and Focus. possibly zoom remote also.

Dave
UK

Steven-Marc C.

10-09-2008, 02:00 AM

Does any one have views on the following lenses and suitability for use with Birger mount.

16-35 f2.8 MK2
24-70 f2.8
70-200 f2.8

These are the 3 lenses Rodney Charters says he took with him around the world to use with the Birger mount so I expect them to work well since he doesn't mention anything to the contrary. Seems like the current optimal 3 lens configuration for RED+Birger. Unless you need anything faster than 2.8 of course.

KETCH ROSSi

10-09-2008, 08:29 AM

Dave Blackham

10-09-2008, 10:26 AM

Im refering to the L series canon Primes

14mm f2.8 mk2
24mm f1.4 mk2
35mm f1.4
50mm f1.2
85mm f1.2
135mm f2

Any views on matching, I believe they should be good but don't have a first hand view on this. Id like any suggestions on any wider lenses that may match the L series glass.

The new Zeiss do sound very interesting but Id probably go with a Y/C mount 21mm f2.8 distagon with a mount convertor all be it manual as they can be found at reasnoble price. I believe the 21mm is the same glass as the new lenses but would like to hear of any views on this.

thanks again,

Dave
UK

KETCH ROSSi

10-09-2008, 10:51 AM

Dave Blackham

10-09-2008, 12:00 PM

That sounds good to me. We do have great grading over here and I'm certain any colour issues can be sorted. Im interested also the the general optical characteristics of the L primes patricularly in terms of bokeh, sharpness and so on. I have done a quick test on the Zooms mentioned and initial tests look very good. I think but am not yet convinced that a set of L primes is a good move.

Dave
UK

KETCH ROSSi

10-09-2008, 12:11 PM

I have been absolutely pleased with the "L" bokeh all the way, been my absolute two favorites, the EF 85mm f/1.2L II and the EF 200mm f/2.0L IS, this two wide open are absolutely stunning.

ciao

Michael Hastings

10-09-2008, 12:30 PM

Okay Dave,

then if I understand right the matching you talk about is if this can be alternated in shooting, kinda of like the UP and MP, well DSLR lenses are not color matched or Super color matched, but they do work just fine, even if some have different carachteristics then others, they are very subtle, and easily corrected in post.

ciao

Ketch, I don't think that is quite accurate. I believe Canon in fact does try to keep consistent color performance in the L series lenses (they tout it in one of their brochures). Obviously not hand tested and picked like say a master prime, but I suspect consistency is fairly good simply because in high volume manufacturing they do have the ability to do pretty precise measuring of the glass and coatings to keep them consistent.

In other words, because zeiss is making very small batches of lenses they have to try to be consistent over time, so they make a small batch of glass or coatings and then have to check it carefully to see that they got it right. Canon gets to make a large batch and even though it might require expensive sophisticated equipment to mix, and check those batches in a way they can afford to spend a lot more time and money to get it consistent because it is spread out over a larger universe of lenses.

Canon probably makes 1000 70-200 L series lenses for every set of say 75 100 and 150 master primes zeiss makes and what do they make 30 sets a year?

KETCH ROSSi

10-09-2008, 12:38 PM

Ketch, I don't think that is quite accurate. I believe Canon in fact does try to keep consistent color performance in the L series lenses (they tout it in one of their brochures). Obviously not hand tested and picked like say a master prime, but I suspect consistency is fairly good simply because in high volume manufacturing they do have the ability to do pretty precise measuring of the glass and coatings to keep them consistent.

In other words, because zeiss is making very small batches of lenses they have to try to be consistent over time, so they make a small batch of glass or coatings and then have to check it carefully to see that they got it right. Canon gets to make a large batch and even though it might require expensive sophisticated equipment to mix, and check those batches in a way they can afford to spend a lot more time and money to get it consistent because it is spread out over a larger universe of lenses.

Canon probably makes 1000 70-200 L series lenses for every set of say 75 100 and 150 master primes zeiss makes and what do they make 30 sets a year?

Acqua, infact I can say that the canon "L" series lenses, of which I had and have many copies do have subtle differences, as they are NOT, Super color matched as the Cine Pro like the Zeiss, obviously in Still is not a big deal, and especially when shooting RAW it is easily corrected oin POST.

However my pointing out was to the fact that the differences are very subtle in deed and not any viewer will spot them, and they do vary from lens to lens in comparison, a little more differences obviously when Zooms are trown in the mist.

I have and I'm very happy with mixing Pics with any "L" series lens I have and never had any complains form any Commercial shoot.

Most of the subtle differences comes from Aperture settings and Focal lenght, do to CA, Vignetting, Barrel Distortion on SWA then does on color rendition, and some do have a more subtle 3D look then others.

But yes I do absolutely agree with you that the Canon team works very hard and well on keeping the "L" series glass in close detail.

ciao

Dave Blackham

10-10-2008, 04:35 AM

KETCH ROSSi

10-10-2008, 05:37 AM

This sounds very good. Thanks again for the information and views.

I used to own a 14mm (not mk2) which I liked for stills and hope to get a 14mm mk2 soon. Is there anything wider available ? in largish aperture ? comparable to L glass and build quality.

Dave
UK

The EF 14mm f/2.8L II is an incredible lens and a remarkable provement over the mkI.

The wider lens for RED will be the EF-S 10-22 not at par with L glass but the only other options will. E to go with the Tokina 12-24 or Sigma 12-24 in that order of build and quality of their image.

Of the three lenses the Sigma is the only one suitable for FF cameras like the 5D and 1Ds series, all will work on RED each with their limitations.

Ciao

Steve Murray

10-10-2008, 06:36 AM

These are the 3 lenses Rodney Charters says he took with him around the world to use with the Birger mount so I expect them to work well since he doesn't mention anything to the contrary. Seems like the current optimal 3 lens configuration for RED+Birger. Unless you need anything faster than 2.8 of course.

Just remember that he did not use a matte box and that the 24-70mm - while one of my favorite all around Canon lenses - is NOT matte box friendly. The front element comes way out when zooming and that is nearly impossible to deal with when using a matte box. The 16-35 and 70-200mm do not do this.

Also I would agree with Ketch -- stick with the Canon 10-22 as the "off" brands are just not as good. The new Tokina 11-16mm is a very nice little lens but it could not match my 10-22 in overall sharpness wide open. It was very even overall however and since I only had 1 lens to test others could be much better than that one. And only getting 5mm zoom instead of 12mm is a high price to pay for F/2.8.

I keep hoping that Canon will come out with a new 8-20mm F/2.8 zoom...... How sweet would that be?

Michael Hastings

10-10-2008, 09:14 AM

I keep hoping that Canon will come out with a new 8-20mm F/2.8 zoom...... How sweet would that be?

or how about a supersharp EF-S 9mm equivalent ofthe 14mm fullframe!

BTW Ketch I agree with your analysis response to my earlier post.

To be clear I was just saying that color matching is pretty good and as you said with the ability to manipulate raw files so well it is probably fine for all but the fussiest/highest end production.

In other words it isn't that the master primes and such aren't better it is just that they are only a little bit better and there is nothing UNprofessional about using Canon L glass for serious production - L lenses are very, very, very good.

KETCH ROSSi

10-10-2008, 09:17 AM

Enzo you are right about the moving front element of the 24-70, as it moves forward when zooming to the wide angle side of the zoom, but this has a remedy, not the best, but nonetheless a good one, what you have to do is leave the hood mounted on the lens, as it is made to have in off inner space for the front element to move inside of it with out sticking out, the only thing you will have to do if you wish to completely have the light spill controlled, is to cut the petals edges off the hood making it a round one.

ciao

KETCH ROSSi

10-10-2008, 09:24 AM

or how about a supersharp EF-S 9mm equivalent ofthe 14mm fullframe!

BTW Ketch I agree with your analysis response to my earlier post.

To be clear I was just saying that color matching is pretty good and as you said with the ability to manipulate raw files so well it is probably fine for all but the fussiest/highest end production.

In other words it isn't that the master primes and such aren't better it is just that they are only a little bit better and there is nothing UNprofessional about using Canon L glass for serious production - L lenses are very, very, very good.

Totally agree with you on the MP's and Cine Lenses vs. Still Lenses, there is not that Huge of a difference, in image quality that they can each produce, in fact some Still lenses have an impressive image reprodcution quality that not even the best Cine lenses can reproduce, such as are the Leica's and some of the Hasselblad.

The mechanincs of the cine lenses is what most Pro's have to say about in a professional shoot, and not very friendly to the idea of bringing in Still lenses, but I must say that RED has been changing that as well, little by l;ittle I'm finding more and more Pro's willing to try before saying NO! And some are very surprise of the results, as time moves forward we know that the resistance will be even lesser, as third party are manufacturing gear to control the Still lenses on RED such as Birger, and when in Remote mode, and no fisical contact with the lens is made, then the only telling will be the image they produce.

Obviously there is a big difference in using a Cine Remote unit such as the ARRI's and Birger's Blue tooth, but things are changing.

ciao

Steve Sanacore

10-10-2008, 09:25 AM

Dave, are you referring as to lenses in the same focal length but not "L" series lenses from Canon? Or from other manufacturers that can be easily used o RED/Birger with an additional adapter such as the one for Nikon which will also in turn allow for the Zeiss ZF series?

Also to note for those that are nont aware that Zeiss is coming out with a series of lenses for the EF mount.

ciao

And I would expect the Zeiss lenses to be sharper than the Canon L's. I have quite a few Canon L lenses and they do not compare to my Leica R's but are much better than the Sigmas I own.

Just my 2 cents.

Steve Sanacore

10-10-2008, 09:27 AM

I keep hoping that Canon will come out with a new 8-20mm F/2.8 zoom...... How sweet would that be?

I don't think there is a market for that lens. All the pro lenses are for full format chip cameras. Even a 10-22 2.8 would be great for the RED.

KETCH ROSSi

10-10-2008, 09:35 AM

And I would expect the Zeiss lenses to be sharper than the Canon L's. I have quite a few Canon L lenses and they do not compare to my Leica R's but are much better than the Sigmas I own.

Just my 2 cents.

Yes Steve,

I also have owned every single "L" lens Canon has made in the last 5 years, basically since I have switched to Canon from Nikon, and still own the Top "L" primes, including my two absoluyte favorite the EF 200mm f/2.0L IS USm and the EF 85mm f/1.2L II, this are extremely sharp lenses and fantastic are the they produce, two lenses each in a category of their own!

Having said that, Zeiss are no doubt some of the sharpest lens in the Still market today, but if I had to absolutely go from start, which I might soon, I'll go with one of two systems, the Hasselblad or the Leica, as this two have absolutely the best Glass in the Still industry, mainly do to the fact that while Canon, produces Millions of lenses per year, Hasselblad and Leica as well as Zeiss produce very limited quantities of them and take way better care of the design and manufacturing quality control of their glass.

IN fact as I'm about to switch from the Canonn 1Ds III to the Hasselblad H3D II 50 or the Leica S2 Systems, I'll be conducting several tests to move in to the system that has the absolute superiority in the image they produce, and I'm not just counting the MP's or Sensor size, I'm seriously talking about the GLASS!

ciao

Steve Sanacore

10-10-2008, 09:49 AM

Yes Steve,

IN fact as I'm about to switch from the Canonn 1Ds III to the Hasselblad H3D II 50 or the Leica S2 Systems, I'll be conducting several tests to move in to the system that has the absolute superiority in the image they produce, and I'm not just counting the MP's or Sensor size, I'm seriously talking about the GLASS!

ciao

I am waiting to see the Leica S2, I don't think the Hasselblad is quite the optics company they were in the 80's when we all used them as a standard. My last MF system was the Contax 645 and I truly loved it, it out performed all my older hasselblad and mamiya cameras and lenses. But with no digital future, I had to move on.

I really think the Leica is going to be the new standard, if any of these systems survive at all.

My Canon optics, (same as yours), are superb past 50mm, it's only the wides where I see a substantial difference using the Leica glass.

Some of the new Nikon lenses are getting rave reviews, (like the 14-24 2.8), the upcoming Nikon full frame camera with some of their new optics may be the other one to beat!

I think the ability for us to use still lenses on the RED can only increase the quality and reduce the prices of cine lenses for us all.

KETCH ROSSi

10-10-2008, 10:21 AM

Steve Sanacore

10-10-2008, 10:29 AM

Well Steve, you are right the new Fujinon manufacture Hasselbald glass has been talked about not to be at par with the Zeiss counter parts, but this new Digital glass has his adventages, so I'm looking forward to the tests and see the true findings as a fellow Photographer here in Vegas has one Hassie H3D II 39, as far as the new Leica S2 and the new Medium Format sensor with parring New Glass, it will be hopefully a pleasing surprise, but Leica also must drop the price as Hasselblad did, going from 40k to 27.5k for the H3D II 50, as the price tag for the S2 at 45k is definitely stiff, unless it is truly that miracle new camera that will lead the world in best DSLR technology and image quality.

ciao

45K? Hadn't heard that yet. Wow. That could be a deal killer for me. What I need in a MF is better and faster handling along with ultimate image quality for my fine art work. If it's that good - then it could be a winner. But at what price....

As far as the rest go, I would also go with the HD3 system before any other.

Personally I am looking to moving forward with more DP and directing work with the RED instead, which seems like a bargain compared to what we are discussing :-)

Who knows what will be, but so far it's all been good!

We should hook up the next time I'm in Vegas.

stare bene

KETCH ROSSi

10-10-2008, 11:17 AM

45K? Hadn't heard that yet. Wow. That could be a deal killer for me. What I need in a MF is better and faster handling along with ultimate image quality for my fine art work. If it's that good - then it could be a winner. But at what price....

As far as the rest go, I would also go with the HD3 system before any other.

Personally I am looking to moving forward with more DP and directing work with the RED instead, which seems like a bargain compared to what we are discussing :-)

Who knows what will be, but so far it's all been good!

We should hook up the next time I'm in Vegas.

stare bene

Yes Steve, sorry but 45K is the price for now, unless they fallow Hasselblad marketing strategy and drop 15 or 20k from the announced price tag.

One of the things that I'm working on and will be doing with next week Sirens of TI shoot, is extracting Frame Grabs form RED and I'll see if for the Fine Nude's Art work I do it suffices in Image quality and Print size, but I also definitely have more Directing work then Photography, so stearing towards RED is a no Brainer, but I must also have a minimum High end Photographic system as well, not longer having numerous lenses packed in several Pelicans, just the absolute Top system available with few lenses.

Please do shout when in Vegas.

ciao

Michael Hastings

10-10-2008, 11:45 AM

All the pro lenses are for full format chip cameras. Even a 10-22 2.8 would be great for the RED.

For underwater I'd like to see a 2.8 superwide as well, but I'd be willing to go with a shorter zoom range too. Or better, I still want a superduper 9mm EF-S prime - maybe an F2?

Canon is making a few EF-S lenses that I would consider "PRO" lenses, particularly the EF-S 17-55 F2.8 IS which is basically the same range as the 24-70 on full frame 35mm. It has similar build and optical design and is actually a newer design AND includes IS which is a pretty big deal. I think it is the perfect "standard" zoom for a REDONE with a birger mount. I have used it a lot on my 40D with great success for available light photos but soon will trade up to the 5D Mark II to get my everyday walkaround 1080P (regardless of some of the rolling shutter and other bugaboo opinions here on REDUSER - I don't look at it as a replacement for my RED I look at it as a replacement for my Sony FX7 HDV) - so I think the 17-55 will start to permanently live on the RED.

Dave Blackham

10-10-2008, 01:29 PM

For underwater I'd like to see a 2.8 superwide as well, but I'd be willing to go with a shorter zoom range too. Or better, I still want a superduper 9mm EF-S prime - maybe an F2?

Canon is making a few EF-S lenses that I would consider "PRO" lenses, particularly the EF-S 17-55 F2.8 IS which is basically the same range as the 24-70 on full frame 35mm. It has similar build and optical design and is actually a newer design AND includes IS which is a pretty big deal. I think it is the perfect "standard" zoom for a REDONE with a birger mount. I have used it a lot on my 40D with great success for available light photos but soon will trade up to the 5D Mark II to get my everyday walkaround 1080P (regardless of some of the rolling shutter and other bugaboo opinions here on REDUSER - I don't look at it as a replacement for my RED I look at it as a replacement for my Sony FX7 HDV) - so I think the 17-55 will start to permanently live on the RED.

Yep Id buy one of those super wides too. For some of our work 2k will be perfectly fine as it gives access to the higher frame rates. Also the increased depth of field will be helpfull. We work alot underwater and Red is certainly an exciting prospect for us in this environment. What is important though is a superwide lens for 2K work also. I dont see any other offering other than the Canon 10 - 22 or various S16 PL lenses which I am trying to stay away from.

Dave
UK

Steve Sanacore

10-10-2008, 05:54 PM

For underwater I'd like to see a 2.8 superwide as well, but I'd be willing to go with a shorter zoom range too. Or better, I still want a superduper 9mm EF-S prime - maybe an F2?

Canon is making a few EF-S lenses that I would consider "PRO" lenses, particularly the EF-S 17-55 F2.8 IS which is basically the same range as the 24-70 on full frame 35mm. It has similar build and optical design and is actually a newer design AND includes IS which is a pretty big deal. I think it is the perfect "standard" zoom for a REDONE with a birger mount. I have used it a lot on my 40D with great success for available light photos but soon will trade up to the 5D Mark II to get my everyday walkaround 1080P (regardless of some of the rolling shutter and other bugaboo opinions here on REDUSER - I don't look at it as a replacement for my RED I look at it as a replacement for my Sony FX7 HDV) - so I think the 17-55 will start to permanently live on the RED.

Yes, I forgot about the EF-S 17-55 2.8 lens. Then maybe there is hope that Canon will make a 2.8 short zoom too. There is also no reason why RED can't make one in the 10-20 T3 range. It would probably be popular lens on the RED ONE.

Michael Hastings

10-10-2008, 07:49 PM

Yep Id buy one of those super wides too. For some of our work 2k will be perfectly fine as it gives access to the higher frame rates. Also the increased depth of field will be helpfull. We work alot underwater and Red is certainly an exciting prospect for us in this environment. What is important though is a superwide lens for 2K work also. I dont see any other offering other than the Canon 10 - 22 or various S16 PL lenses which I am trying to stay away from.

Dave
UK

For 2K keep an eye on the Four Thirds System lenses I believe they have a 7mm available and it seems like I recall erik at birger saying they might develop a four thirds mount for their industrial users and at that point it would be pretty easy to make work with their RED product. This is based on recalling conversations from several months ago, so I could be totally mistaken. But it makes sense.