Making a movie with just one RED lens

[Elvar Guðmundsson]

If you had to choose..
Would you go with RED 50-150mm T-3 (F2.8) ZOOM
Or
RED 18-50mm F2.8 CF LENS

I don't know if the RED 18-85mm ZOOM is still in the mix, but that's where my reservation deposit lies at the moment. :umm:

[Anders Holck]

I'd certainly choose the 18-50mm.
Then rent a 85 or 135 prime to supplement. A standard Zeiss is pretty cheap.

[Ramesh Jai]

Tricky... but I would go with 50-150mm if I was pushed to make a choice only between the two. Ofcourse if 18-85 is availabe then I would go with that.

[Nils Ruinet]

I'd go with the 18-50mm, as you'll almost certainly need a wide lens at one point or another...

Maybe using the 2K windowed mode when you need longer lenses, as this would act as a doubler. This hasn't been tested yet, but if 2K windowed can be matched with 4K shots, this could be a nice option.
You could also consider adding a Nikon or Canon adapter with cheaper photo lenses, with some longer lenses...

[Eirik Tyrihjel]

I´d use the 18-50mm, and I would dig out an extra 660£ from somewhere, and get a 2x extender
http://www.filmcamerakit.com/html/adaptors.htm#pl
, that would loose two stops of light, but extend the lens 36-100mm.

[Antoine Baumann]

Maybe using the 2K windowed mode when you need longer lenses, as this would act as a doubler. This hasn't been tested yet, but if 2K windowed can be matched with 4K shots, this could be a nice option.

yes I think so, and if you finishing at 2K even from the 4K original it might blend very nicely (again this has to be tested), but this is really a workaround.

I think (hope) the 18-85 is still in the air, and that's also where stand my reservation for the moment.

Anders, how do you think would blend images from a Zeiss glass and from RED lenses? I am very interested in this answear (of course it has also to be tested on an project bases, but I would like some feedback).

antoine.

[Joe Aurili]

Wouldn't that be the same as cropping the 4K image to get the same result?


Maybe using the 2K windowed mode when you need longer lenses, as this would act as a doubler. This hasn't been tested yet, but if 2K windowed can be matched with 4K shots, this could be a nice option

[Brad Hawkins]

I think a lot of it depends on your movie. If your shooting out doors with wide open spaces then maybe the 50 - 150 makes more sense because you would have more room to put space between the camera and your subjects. On the other hand if your mainly indoors then it would make much more sense to have the 18-50.

just my 2 cents.

Brad

[Kevin Halverson]

I would think that the answer to this question would be best established by looking at the script and doing a site survey of the locations.

I am curious, is this an academic question or is there really some reason (a competition or something) you can't have more than a single piece of glass to work with?

[Nils Ruinet]

Wouldn't that be the same as cropping the 4K image to get the same result?

Yes, exactly.
Only, you'd end up with smaller 7 MB/s files, compared to the 27 MB/s 4K files.
Cropping footage afterward maybe a bit more confusing, as you'll have to remember which files have to be cropped, and which ones don't.

But at the end, it would be the same.

I think this could work. 2K is still a very good resolution. And for longer lenses, the larger DOF wouldn't be an issue.
I just hope it will be easy to switch between 2K and 4K between 2 shots.

[Mike]

Maybe Elvar is working on a tight budget and only have the budget to purchase one lens, and hence, he wants to purchase one that can be the most modular.

[Dan Blanchett]

I agree with post #8, but it also depends on whether you prefer (for this project) more compressed looking images with shallow DOF (50-150) or wider angles with deeper DOF. F/T stop plays a part too, depending on how much light you have available.

[Kevin Halverson]

Maybe Elvar is working on a tight budget and only have the budget to purchase one lens, and hence, he wants to purchase one that can be the most modular.


Well if the budget is really that tight, then I might suggest looking to one of the rental houses. For a lot less than the purchase price you can rent some really nice glass for quite a long period of time. If you plan your shot list just right, you might get away with just a handful of primes or a pair of zooms.

My motto, buy what you use most often and can justify owning, rent everything else based upon what you need for the specific job.

[PaulClements]

18-50mm without a shadow of a doubt.

You can always go closer to the subject at 50mm to achieve similar DOF that you might get with the other lens placed further away at a longer focal length. By comparison the 50-150mm can't get shots in situations where space is an issue - such as indoor shots. These shots would be far more accessable at 18mm.

18-50mm covers more shots than the 50-150mm in my opinion. If you buy both then you would find yourself using the 18-50mm far more often I feel.

[Joe Aurili]

Good points, but I think if I was shooting something in 2K, I would still shoot everything in 4K, and keep a good buffer around the intended frame. Then I could crop and get perfect framing. This would work especially well if the shots have to be taken in a rush.


Yes, exactly.
Only, you'd end up with smaller 7 MB/s files, compared to the 27 MB/s 4K files.
Cropping footage afterward maybe a bit more confusing, as you'll have to remember which files have to be cropped, and which ones don't.

But at the end, it would be the same.

I think this could work. 2K is still a very good resolution. And for longer lenses, the larger DOF wouldn't be an issue.
I just hope it will be easy to switch between 2K and 4K between 2 shots.

[Nils Ruinet]

Good points, but I think if I was shooting something in 2K, I would still shoot everything in 4K, and keep a good buffer around the intended frame. Then I could crop and get perfect framing. This would work especially well if the shots have to be taken in a rush.

Yes, I was thinking about that option too, this could sometimes be interesting. The only thing is that framing in the viewfinder will be much less comfortable, if you see the full 4K frame, but only plan on using the 2K center part.
Will we be able to add custom framelines to the EVF ? Or even maybe zoom into the displayed frame ?

However, I still think it's better to nail your framing down when shooting. You never know what's gonna happen in post... :unsure:

[Michael Lindsay]

how do you think would blend images from a Zeiss glass and from RED lenses?

I guess cooke may match better since JJ is a big admirer of their glass...however with anything like a modern grade the often subtle difference between 'modern good glass' is almost irrelevant.. The shots that stick out tend to be due to slight f**k ups...

As soon as Red glass is out I will be testing as I'd like to augment the 2 zooms and their 5 prime set with some other lens... (Assuming that Red glass is OK to Good)

As to the which lens.. you could shoot a whole scipt with only one prime (my murky menory is thinking 2046, delicatessen??? anyone??) The script and visual direction should dictate...

regards

Michael Lindsay

[Jason Murphy]

As to the which lens.. you could shoot a whole scipt with only one prime (my murky menory is thinking 2046, delicatessen??? anyone??)

I'm pretty sure that most of Robert Bresson's movies were shot with one prime, and they would count among the greatest films of all time. Also, if I recall correctly, Cronenberg's History of Violence was shot almost exclusively with a 27mm prime. And that's also a great movie, with some excellent cinematography.

[klas]

It depends on the story. What lens/movielanguage you wish to achive. You might not want short focal depth on a natural or, in a sense a, "real" movie. It's much more than DOF to think about when deciding lenses.
That said, renting a set of primes might be the best way to go? That would force you to be cosistent and thought through at your focal choices as opposed to just zooming to frame your shoot. If you want to own them, a set of SLR primes might be a choice? Then you can decide exactly what you need for your movie and just get those.

[Häakon]

I think (hope) the 18-85 is still in the air, and that's also where stand my reservation for the moment.
Agreed, and agreed. :-)

[Costelloe Michael]

With a budget you would choose a range of tools to do the job and service the script. For a gimmick, if you are really stuck for money or if you have a lot of money to arrange it you can shoot on one lense.

Mike C

[Elvar Guðmundsson]

You guessed right, my budget is tighter than the trunk of a toyota Yaris

Thank you guys for good solid replies, I've decided on the 18-50mm ZOOM for now, since I can't be waiting on the 18-85mm forever. Also saves me $3000 ! HEY-YA!!

Remember to brush. Good night.

[Curran Giddens]

Now the question is.... When do we let Red know we want to switch our reservation? I thought we were supposed to get an email a few months ago, but maybe we decide when our camera is ready for shipping.