Illumina S35 "Soft Roll Out" in Miami

[Charles Pickel]

On December 10-12, Luma Tech founder and president Gregory Mirand hosted a quiet technician clinic and open house to show the last pre-production units of the much anticipated Illumina S35 high speed primes for digital and film production.

On hand to present the nearly-finished products were Mr. Alexander Khitrik and Mr. Lev Krynin of the LOMO works in St. Petersberg, Russian Federation.
They offered a Powerpoint presentation explaining the new lenses' optical and mechanical design, then demonstrated basic service procedures for the technical personnel present. Then everyone was turned loose to compare the Illuminas with other popular cine lenses.

Also present was Mr. Egon Stephan Jr. of Cine Video Tech, Miami who hosted the event, and a representative of our prospective European service agent. They will be named publicly once our deal is final. What they saw at the open house only seems to have increased their enthusiasm for the Illumina lenses. And they have to go home and face a lot of other Germans.

Other, more objective people should describe what they saw. I was not personally able to attend for (temporary) health reasons, but participated in discussion of all the issues by phone and email.

One of the net results of the conference was that so few revisions of these
" last chance before production" units were called for, we will deliver our first production sets before the New Year.

As they say in Mother Russia: счастливое Новый Год !

[D.W. Norton]

I attended the Illumina lens open house held at Cine Video Tech in Miami Florida. I went in without any preconceived notions as to how these lenses would compare with the current manufacturers of glass in our industry. I would like to say that it was held in a venue that could not have been better. Egon Stephan Jr.’s CVT's facilities are very professional, with plenty of space and all the necessary test equipment and support staff. They provided an excellent Century Precision Optics lens test projector and a Chrosziel test projector with motorized back focus adjustment. Although CVT did not have Red Pro primes or Zeiss master primes available for comparison, they did provide Mk-III Zeiss high-speed lenses, Zeiss ultra primes and Cooke S4’s, all in all, a very prestigious group of optics for comparison.


Few people reading this post will know me, and although newly registered on this forum, I have worked over 30 years as a motion picture camera and lens technician. Beginning in the military then spending long stretches at some of the largest and most respected equipment rental companies in the West, I received on the job training as a repair technician, machinist and toolmaker. I am also a graduate of the old National Camera training program in camera and lens repair in Colorado. During my 12 yr. stint at Oppenheimer Cine in Seattle, there was even some experience with the world of boutique manufacturing of lenses and accessories. My participation at the Luma Tech event was inspired by my own curiosity and an invitation from Charles Pickel at Serious Gear Co. to share travel expenses for me, as he was unable to attend. Serious Gear does not employ me, but Charles and I do collaborate from time to time. So that’s my full-disclosure spiel.

The first day we had a presentation from the factory engineers about LOMO’s history and the products they have made. Also there were power point presentations of the technical drawings showing optical placement and focus mechanisms. Next, lenses were put on a projector to see how they looked and compared to the other available optics. Then it was time to look at lenses on two Red cameras. They shot focus charts so we could see the details picked up from both sets of sample Illumina lenses on these cameras. Then they aimed the cameras at real life 3 dimensional tabletop subjects, then a live model in a chair. We experimented with different lighting set ups, going as low-key as practical to see how various optics would respond. I was amazed at the optical quality of these lenses. In extremely low light situations the Illuminas actually appeared to show more detail than the other manufacturers’ high-speed lenses. We swapped cameras and lenses in case there was a difference in camera settings but this extra luminance was still apparent. Unfortunately, the lens projector reticle was not marked for 5k, but its test pattern did indicate an image circle out to 31mm and you could see that the apparent image made by even the widest (18mm) Illuminas was larger than that. In my estimation, coverage of 16x9 format from the 5k Red sensor will not be a problem. Overall I think that everyone was impressed with what they saw.

On the second day, The LOMO engineers, Alex and Lev, disassembled the lenses so we could see the build quality and learn basic service procedures. Q&A was slow as the attendee’s questions went both ways through an interpreter. A little sign language and “hands on” time helped get messages across. The lens housings are anodized aluminum with a brass focus helix and substantial brass helical guides. The mount is stainless steel with the standard 8 hole (Zeiss) pattern. Conventional back focus shims and M2 Zeiss-type screws found in every rental house service dept are used to adjust back-focus. This is a great convenience. Nobody wants yet another proprietary set of shims for the same old PL mount. The Illuminas look and feel well made and should last for many years with occasional maintenance as with any quality optics. They felt solid without being excessively heavy. The engravings are well spaced and easy to read.


The overall look and feel of the images made by this new generation of Russian cinema optics is very natural. Not so artificially warm as the Cookes, but similar in their kind rendering of human subjects. They are super-sharp, but are not cold or sterile as some of the latest high-tech optics can sometimes appear. The only glitches I witnessed was a sticky iris blade on one lens and an odd flare on one of the two 18mm units which the engineers put down to a hurriedly applied black edge coating. I think the market has a new and very desirable option in these new lenses from Luma Tech.

[Alex Boothby]

Thanks for your comments D.W.

Do you recall how the illuminas performed wide open compared to t2.1 or t2.8? This was a problem with the Zeiss super speeds which suffer from hazing and diffusion problems @ t1.4.

Thanks

[Ryan S]

Very interested in seeing some images/motion from these lenses.

[Jack Mosor]

Thanks D.W

My colleague Ri Ly from Production Services Senior Technician who attended the training, brought similar comments, I believe the glass is manufactured by German Optic company with QT and Lomo is dealing with mechanical side of it. Overall I heard great reviews from people who attended the presentation.

Cheers,

Jack Mosor

[Bob Renalds]

It sounds like an interesting meeting.

All of this new PL glass is a real blessing to the community.

Right now, I am loving my RPP's. I have seen them projected against the Cooke's, UP's and MP's and then pretty much go toe to toe with the MP's in many cases.

If you don't absolutely require T/1.3, then the RPP's seem like a solid choice. I have my order in for the 18mm so that's going to be a big plus.

What I love most about the RPP's is the way they actually look on the camera. Projection is cool but it's not really how the lenses are used. Projector overfill, etc can skew results.

However, who knows what is in store with RED and what lenses they will release in the future. Given Jim's history of upgrade deals to Red users, I am sticking with the RPPs unless I really need the speed

[Jack Mosor]

Our Red Pro Primes just got back from another long term job. DP really enjoyed them. I saw the footage and it looked great, the combination between camera, RPP and proper exposure, I had to question myself which lenses were used on it.
As we all know there are many quality lenses for different jobs :)

[Charles Pickel]

A quick note for those wondering about the origins of optical glass and design used to create the new Illumina S35 lens set.

Glass is supplied en masse ("logs") by Schott, in Germany. One of the types of materials specified by LOMO uses a special chemistry which is only "cooked" to order by Schott.
The LOMO factory then does all glass fabrication: blanks are diamond drilled from the logs, cut to thickness, turned & polished.

Dr. Khitrik and his team were asked to draw inspiration from Zeiss T1.3 HS lenses and Ultra Primes, esp. for mechanical layout. We elected not to go with a cam-driven system because of tooling expense and our experience with mechanical reliability problems in those types of systems. They don't do well in shipping. Production crews just hate going through exhaustive preps only to arrive on location to find one or more lenses with failed cam-followers after who-knows-what trauma in shipping. So we stayed with the conventional double helicoid focus movement a la Zeiss.

Optical design was also carried out from a clean sheet of paper by Dr. Khitrik. Through the use of original design thinking and exotic glass types, he met our design goal of exceeding the performance of the lenses used for "inspiration" but in an ultra-high aperture. What people notice right away is extremely high and consistent frame illumination from edge to edge with no discernable fall-off.

I hope this is a clear explanation of how the lenses were made.

[Christian Agerer]

I attended the Luma Tech training Seminar Dec, 9 to 10th; I am now since more than 15 years working as a professional lens technician, so I was very interested to know about the quality of the new Illumina S 35 Lenses.

Here a little report about my experience during the training;

We have tested the lenses in a several way’s in compare with the Zeiss MK III High Speed Lenses. The noticeable thing we could see is, that the Illumina S 35 Lenses showing more details on a low light shot then the Zeiss Lenses MK III series (scene tested with 1 foot-candle and one with 5 foot-candle; with a RED camera and a ARRI 435 camera).

The colour matching of the Illumina S35 lenses is a bit warmer then the Zeiss MK III Lenses, I would say the lenses are located between the Zeiss Ultra Prime and the Cooke S4 Lenses.

The mechanic is fast and easy to clean and lubricate. The optical design is quite nice because the front and rear lens elements are mounted in a separate housing, the system is sealed, so dust has no chance to come in and it is easy to remove the whole lens group to clean the iris section, if necessary.

For my opinion the optical quality of the lenses is very high and they are fast and easy to service. I think all users would be happy with these lenses.

[MichaelHalsell]

Any product shots of the lens or shooting samples?

[Charles Pickel]

Luma Tech Inc. is in the process of becoming a REDUSER.net sponsor, but have not quite completed the process (Hi Jason !), so it may be premature to spray product literature and screen caps all over the forums just yet.

You can find photos and info at : http://www.lumatechinc.com

Look for sample images made with the Illuminas and captured on RED to be posted here soon.

[helkinrene@gmail.com]

Hi
someone knows what happen with the image samples with the illumina lenses?
I really want to see it...
Please post it!
:attention9ha:

[Fred Salaff]

sooooooooooooooon.
please stand by. We have some in the can but need a wider variety. Will post.
It's a promise.

Muchas gracias.

[Andrew Rieger]

Any updates on these lenses? They have been released correct? I am looking for places to rent but have not found any. These look like the best bang for the buck lenses out there, due to the T 1.3 stop. If these give the Master Primes a run for their money, you have big sellers on your hands, you just have to get the word out about them more.

[Andrew Rieger]

I was wondering if I could find out the rear image circle for these lenses. There is a lot of misinformation going on about the image circle requirements of the 5K Epic sensor. Some people sat 32mm and others say 34mm. Will these lenses cover the full frame of the new MX 5K sensor?

[Alex Boothby]

A little birdie told me the Illumina's are 33.5mm.

Please double check :)

[thomas-english]

What is the minimum focus on these lenses?

and are these the same lenses as the Optica elites?

http://www.optica-elite.com/products/digital

If not, will there be a 100mm and a 135 mm available and do you have any prices yet?

[Fred Salaff]

Info requested:

Super 35mm Illuminas will cover the 5K sensor.
These lenses are not from Elite and are not Optica Elite.

Close focus distances:
18mm: 10"
25mm: 10"
35mm: 14"
50mm: 2' 2"
85mm: 3'

[Andrew Rieger]

can I find out the image circle of these lenses? Trying to find out if they will clear the new 5K sensor.

[Fred Salaff]

33.5mm

[Andrew Rieger]

Sweet.

[Miltos Pilalitos]

Anybody knows what the pricing is for those lenses?

[Ryan S]

Anybody knows what the pricing is for those lenses?

$34,500

http://www.fjsinternational.com/lenses.html.

[Andrew Rieger]

anyone know where these lenses can be rented?

[Fred Salaff]

You can see a beautiful music video shot entirely with Luma Tech's Super 35mm Illumina lenses at http://www.lumatechinc.com/S35.html

The video clip is at the bottom of the page. It was shot by Pasha Patriki on a RED camera who added this comment:
"Some of the flares were added in post, but note the ring-shaped flares, which expand as the camera moves. Those are real. :)"

More footage and samples coming soon.

Luma tech will be exhibiting its line of Super 35mm Illumina lenses as well as its Luma Check back focus tool at the NAB show.

More credits on music video clip:
(REACTIV PICTURES), the artist (Canadian Band LATENCY - "FORK IN THE ROAD"), director (ALON ASOCIANU).

[Antoine Fabi]

Hi Fred,

Any news about the delivery date including the 18mm ?

Thanks

Antoine ?

[OptiTek]

From the video it looks like wide open the lens flares severely- a baffling problem if you ask me... It cleans up very nicely stopped down- colors sharpness look great but I wonder what stop that is. It's pretty typical, actually. Reminds me of the first Cooke S4 attempts in the early/mid 90's. They(Cooke) worked it out very well, in the end. I guess the only exception here are the Master Primes- that is if one can afford them...

[MichaelHalsell]

From the video it looks like wide open the lens flares severely- a baffling problem if you ask me... It cleans up very nicely stopped down- colors sharpness look great but I wonder what stop that is. It's pretty typical, actually. Reminds me of the first Cooke S4 attempts in the early/mid 90's. They(Cooke) worked it out very well, in the end. I guess the only exception here are the Master Primes- that is if one can afford them...


Jacek, I'm still on the look out for those OptiTek Primes. :yesnod:

[NormLi]

Cool. I shot a MV for these guys before (The Latency) here in Vancouver on the RPPs.

I like some of the flares, especially the mediums and CUs. The ring shaped rainbow flares were nice. I wasn't a huge fan of the flaring across the background from the row of lights behind them though.

Norm

[OptiTek]

Jacek, I'm still on the look out for those OptiTek Primes. :yesnod:
Sorry- I'm soooo over primes- they are soooo 20th century...:yesnod:

[Andrew Rieger]

From the video it looks like wide open the lens flares severely- a baffling problem if you ask me... It cleans up very nicely stopped down- colors sharpness look great but I wonder what stop that is. It's pretty typical, actually. Reminds me of the first Cooke S4 attempts in the early/mid 90's. They(Cooke) worked it out very well, in the end. I guess the only exception here are the Master Primes- that is if one can afford them...

He said some of the flares were added in post so it may not be the lenses. Besides, I think they were going for the flare look that is popular with music videos today.

Most of the shots were stopped down , based on the bokeh. Don't know about the stop but I would say around 5.6 ish.

[OptiTek]

He said some of the flares were added in post so it may not be the lenses. Besides, I think they were going for the flare look that is popular with music videos today.
Andrew- I've seen enough lenses to tell- believe me-these ghost like MFs.
Which could be an artistic choice-like the old Cooke Panchros.
As long as the keyword here is "choice"- as in "you choose to do this not have to fight it". The stopped down interiors look fantastic- as far as I can tell by viewing on the web-seem like lenses with real good potential.
BTW what's up with the retro style- painted glossy barrels, iris ring up front.. etc.-I kind of like it-reminds me of my beginnings in the industry.....

[Andrew Rieger]

Lomo always made good lenses that produced a nice pleasing image, not as warm as Cooke but not a sterile as Zeiss. Granted, there were some reliability problems but I hear that these are first rate at a relatively inexpensive price. These lenses do seem to have an old school design with modern Zeiss supplied optics.

[Fred Salaff]

Luma Tech, Inc. will be showing its Super 35mm Illumina lenses, 16mm Optar Illuminas and its Luma Check back focus tool at NAB.
The company will be sharing booth #C10450 with Focus Optics, Inc. which is a dealer for Luma Tech products and who will handle
warranty servicing in the Los Angeles area.

[Charles Pickel]

Lomo always made good lenses that produced a nice pleasing image, not as warm as Cooke but not a sterile as Zeiss. Granted, there were some reliability problems but I hear that these are first rate at a relatively inexpensive price. These lenses do seem to have an old school design with modern Zeiss supplied optics.

Everyone's thoughtful observations on the mew Illumina S35 high speed lenses are much appreciated.

Yes, there is a bit of "old school" in the lenses, in that they have helicoid driven focus movements, rather than cams. This was done for the sake of simplicity and durability. They are simple in layout, but not simple to make well. The iris ring is up front, but protected by a chamfer in the lens barrel, so matte box bellows won't ride up onto the ring.

Regarding glass, the source of the optical materials in these lenses is German, but not Zeiss. Raw glass is purchased by LOMO directly from Schott and worked into elements at the St. Petersberg factory according to LOMO's proprietary designs. These are "clean sheet of paper" units, not copies or derivations of other products. They draw their inspiration from classic lenses of the past, but use present day design concepts and materials to surpass those legacy products.

Hope this brings the origins of the Illumina S35 series into sharper focus.

[Fred Salaff]

More footage shot with the Super 35mm Illuminas exclusively with natural light can bee seen here: http://vimeo.com/10341278

You can also see the footage on the Luma Tech website: www.lumatechinc.com and check out the specs of all the lenses and complete product line.

At NAB Luma Tech will be sharing a booth with Focus Optics who is dealer and warranty service center for all Luma Tech optical products. Booth Number C10450.

[Kar Wai Ng]

I was the focus puller on the Latency music video that's featured on the Lumatech website.

We had a 3mm streak filter in the mattebox, so that forms a large part of the look that you see. The ring-shaped flares though were naturally occurring from the lens.

I can tell you for certain that we were not shooting at a 5.6! For the performance portion (in studio) we were mostly working around a T2, sometimes a little more open than that.

I do have quite a lot to say about these lenses, but I'm afraid most of them are not particularly positive.


He said some of the flares were added in post so it may not be the lenses. Besides, I think they were going for the flare look that is popular with music videos today.

Most of the shots were stopped down , based on the bokeh. Don't know about the stop but I would say around 5.6 ish.

[Andrew Rieger]

I was the focus puller on the Latency music video that's featured on the Lumatech website.

We had a 3mm streak filter in the mattebox, so that forms a large part of the look that you see. The ring-shaped flares though were naturally occurring from the lens.

I can tell you for certain that we were not shooting at a 5.6! For the performance portion (in studio) we were mostly working around a T2, sometimes a little more open than that.

I do have quite a lot to say about these lenses, but I'm afraid most of them are not particularly positive.

like what?

[Kar Wai Ng]

like what?

Most of my complaints relate purely to the mechanics and quality of the housings. On one or two lenses the witness marks wouldn't reach infinity...focus ring would hard stop just short of it.

Front diameter was slightly inconsistent...apparently they had problems with the paint jobs, so some got more coats than others...so the clip-on mattebox would be too loose on some, too tight on others. Some tape was used to shim the looser ones, but we really shouldn't have to do that. Similarly, the lens caps would fall off on some, and not fit on others.

The pressure of the clip-on mattebox also completely seized up the focus helical, causing lots of problems with a Preston DM1 motor. Had to help the motor during calibration process by turning the lens. Yes, I did try doing the calibration without the mattebox on, but there's apparently still something wrong with the lubrication they're using that they're still trying to sort out. The torque from the motor itself would seize the helical and the gear would jump off. We had one of the earliest sets, and the first set in Canada, and what I heard via the DP was that they're still working some kinks out and hopefully the mechanics will be more reliable on later serial numbers. These lenses are apparently made in a factory that mainly manufactures optics for other industries...the DP told me he was on the phone with an engineer in Russia, explaining what a mattebox and Preston were and the issues we were encountering with them.

Some other things didn't quite make sense...we had imperial markings, but I remember one distance was marked as 1.7 feet or something similar. Not 1'7", but 1.7 feet. Kind of odd.

Optically, the lenses remind me of Zeiss Super Speeds. Soft open, and my feeling is that T1.3 2/3 is where it starts to look similar to SS's at T2. I did not A/B them side by side with other lens series, just my general feeling based on memory. I didn't have time for a prep for these lenses, so I don't have any empirical data about resolution or anything.

[MichaelHalsell]

Kar, where these pre-production units?

[Kar Wai Ng]

No, they were shipping units. I am trying to be fair and careful with the opinions I'm sharing, because someone receiving a set of these lenses today might have different experiences. Were these pre-production units, I would definitely have that disclaimer, but because these were production units (early ones, albeit) I believe they are fair game for criticism.

[MichaelHalsell]

Kar, thanks for the candid response. Short of the early company announcements, your observations have been most bits of information available. Thanks again.

[Fred Salaff]

The lenses used by Pasha Patriki on this music video were prototypes. They were shipped to him for field testing and to report any problems. There were issues with mechanics and markings and the lenses were returned to Luma Tech for further evaluation. That was quite a few weeks ago and many changes have been made and the mechanical designs altered by the LOMO factory. The optics have not been altered in any way as they are superb. New lens sets are now ready and will be shown at NAB.

[OptiTek]

The issues mentioned here are echo of the general issues with 16mm Optars.
It's a bit late in the game but since there are not many sets out there the damage is minimal and mosly to the egos:sneaky2:
I hope this is not taken as bashing but a constructive criticism. Take it as a free advice from someone in charge of dozens of camera lens projects in the heart of film industry. I'll be blunt: these are not minor issues- they are major issues, get your s#&t together and show your best- otherwise these lenses have no chance...

[Kar Wai Ng]

Glad to hear about the improvements. Whether or not they were 'prototypes'...I can only say that he purchased them at retail price with the intent to keep them...the option to return did exist and he chose to exercise that option after our initial experience with them.

[Pasha Patriki]

Hi everybody,
I am the DP who used these lenses - Kar Wai thanks for sharing! I felt like I should put in my 5 cents.
I did pay for the lenses, however it has been decided that the lenses were still in the prototype stage, after talking directly with LOMO factory in Russia.
I was well aware that this set of Illuminas was one of the first to arrive in North America, and while I agreed to pay for it - the truth is, it was still very much a prototype. I personally know Gregory Mirand- the man behind the design of these lenses, and that's why I had my confidence that we will be able to work things out.
Which is exactly how things went along.

So I want to tell you guys - hold back, they are making some serious improvements on the mechanics of the lenses, and they will at NAB in two weeks - you should check them out. If the problems that we have pointed out so far have been fixed (which is what they are claiming), then this might be a very good set of lenses to have.

As mentioned before, the optics in these "prototypes" were great, it was a few mechanical issues that we had issues with.

[Pasha Patriki]

Here's a link to the video we shot with these lenses:
http://www.youtube.com/watch?v=sL2-c4IUuZk&feature=player_embedded
As Kar Wai Ng mentions, we shot at around T2.0 most of the time, ans also used a streak filter. We clearly had a lot of lighting fixtures blaring directly into the lens, because we wanted as many flares as possible.

In fact, later in post director Alon Isocianu added even more flares. The only real lens flares are those rainbow-type rings, which expand as we move in relation to the source of the flare. These were actually only so prominent on 35mm lens, and not so much on others. In fact, we used mostly 35mm lens on the performance part, as well as 18mm for the wide shots.

I have been in contact with Gregory and Fred Salaff, and they have been very attentive to my feedback (which includes all those that Kar Wai Ng mentioned in his posts), and they have been apparently working on resolving these mechanical issues.
I just want to be very clear on that.

I might not be going to NAB this year, as I am booked on a shoot those days, but if I do - I really want to evaluate the new set!

And as any DP or AC, we love to talk about lenses, and could talk about it forever. I will be happy to chat with anyone about these, please shoot me an email - pasha@dop.ca (I am not a very frequent forum visitor).

Cheers!

[Shane Betts]

This all bodes well IMHO. Forums like these certainly apply the blowtorch to manufacturers but on the upside they feel the heat early in the piece, not after releasing hundreds or thousands of units onto the market. The makers of these lenses, with any common sense whatsoever, can clearly see what the market expects and should be able to deliver.

Anyone who criticises Jim and Red for their "vapourware" approach to announce first, second, third etc. then release when ready should take a look at what's happening here. This is the power of the market's involvement in the development process, as distinct from the develop in secret and cover your arse when sales begin approach.

[Alex Boothby]

Any Illumina news @ NAB? Are they shipping?

[Tom.Wong]

+1

been trying to find out as much info about these lenses as possible, really not a lot online. Would love to see more footage, lens testes, and news of any upgrades on this mechanical operation and quality from the prototypes.

[Bob Renalds]

I would only consider 3 lens sets at this point (assuming I did not own RPP's)

1) RPP's
2) Uniq Optics
3) Zeiss Compact Primes

Those seem to be the ones everyone I saw at NAB was evaluating/buying.

Oh, and the Leica's if I had the budget.

[Paul Nordin]

I would only consider 3 lens sets at this point (assuming I did not own RPP's)

1) RPP's
2) Uniq Optics
3) Zeiss Compact Primes

Those seem to be the ones everyone I saw at NAB was evaluating/buying.

Oh, and the Leica's if I had the budget.

Don't forget the Cooke Panchros. They may be 2.8, but with the faster Epic/Scarlet that's not really a big deal, particularly if that 2.8 turns out to be usable (which reports claim it to be). I haven't tested them myself, but the chance to work with S4 quality every day? Not to be tossed out without a lot of thought. These are first on my list of "have to check them out in person" lenses. I shoot as much as I can with the S4s...they have a magic quality that belies specs. My two cents.

[Tom.Wong]

Any news from NAB on the Illuminas? Were they there? Mechanical issues?

[Lonny Danler]

Stuart from Focus Optics was there and I played with the lenses a bit. The weight and t-stop was good but the iris felt a bit funky and the rings were a bit gritty. Stuart said he'd smooth the iris and focus rings before they left his shop if you slap down the $34k. The bokeh wasn't my favorite. I'd have to see more footy out of them. He was very excited about his Ruby. Nice wide zoom with very little distortion.

[Fred Salaff]

All Illumina lenses sold go to Stuart at Focus Optics for a final QC and smoothing out of iris and focus rings, if needed. We will be posting footage as soon as we receive more samples from customers.

[Tom.Wong]

I am very excited to see more footage and to hear more new about them. I want to potentially invest in a set, and want to see proper reviews before I order... Anybody that has more extensive experience with the lenses please post!

[thomas-english]

So how are these lenses getting along? Anyone bought any yet? I see they are priced at a far more reasonable $27,000 nowadays.

Is quality an issue?*Bearing in mind they have to get shipped to a third party (focus optics) for quality control and a little work? Is that weird?

Are the well respected Abel Cine going to sell these lenses and put their names to them? As they did originally with the s16 lenses.

Are Luma Tech going to be around for long enough to supply parts for these lenses 15 years down the line?

I also notice that a long thread about these lenses was removed from reduser.net . Why would that be?

[chuck colburn]

I just read thru this thread and I assume that the lubrication problem if it is only a lube problem should be easy to resolve and the flairing problem if only a baffle fix should also be easy enough to fix, but I wonder about the focus binding problem with a clamp on matte box. This would seem to indicate that the external shell which probally surrounds the outer half of the multistart (helical) focusing thread may be perhaps too thin walled.This in itself is not a serious problem but would require substanial engenerring change orders which might delay release. Since I read no mention of backlash within the focusing group I assume that the maching is of sufficent quality to prevent such.This is critical espically if the lenses have a floating element group(s). As I'm sure others would, I'd like to see some resolution tests and some nice macro shots of a torn down example that has had some excelarated wear tests done to the moving parts. Always nice to see a new product that the manufactuer doesn't demand that a tech. have to attend a high price school at their own exspense to be allowed to do a "lube job".

[Fred Salaff]

It is very peculiar that the very long thread about the Super 35mm Illuminas was taken down because most of the issues raised in this older thread have been answered. I can only surmise that those who were in charge of the thread thought that I have been spamming. I was attempting to answer questions and concerns about the Illuminas.

The last reply I posted announced to the forum was that this is the last week to purchase a new set at the old price and that as of January 1 the price will increase $3,000. Of course, this could be construed to benefit Luma Tech but at the same time it is cool information for those contemplating purchase high quality high speed PL glass at this time.

There were many links on the large thread giving examples of footage shot with the Illuminas.

During the past year and a half the LOMO factory in St. Petersburg which manufactures the Illuminas solved the mechanical issues and no longer is it necessary to send lenses to Focus Optics for each sale. But It will be possible for anyone who wants to purchase the lenses to do so from Stuart.

Spare parts are available and there is a one year warranty on parts and labor for the Illuminas.

Specs of the lenses can be seen on the Luma Tech website:
http://www.lumatechinc.com

All deliveries after January 1 will also have a change in aperture marking. The widest aperture will be T1.2 and there will be a new color scheme and an overall enhanced look. The 135mm T1.6 lens will have its prototype ready in March and the 14mm T1.6 a few months later. Both lenses will have the same 95mm fronts as the other 5 lenses in the set (18mm,25mm,35mm,50mm,85mm).

All the Illuminas cover the 5K format.

[Peter Moretti]

I don't know what is standard in the lens world, but do have any sort of return policy?

[Fred Salaff]

There is a one year warranty on parts and labor only.

[Peter Moretti]

The lumatechinc website has a small box that says "Satisfaction 100% Guaranteed," which would lead one to believe the lenses can be returned for a full refund (less shipping and possibly a service charge). I guess you are saying that that is not the case.

[Tim Whitcomb]

Peter- Im doing a lens test at the end of the month versus a ton of lenses at our studio.
So far, I love what I see and they are going so far as to provide a set for testing. Doesn't get much better than that. We are excited. More real world side by side testing too. not just charts. going to be fun!

[Shane Betts]

Peter- Im doing a lens test at the end of the month versus a ton of lenses at our studio.
So far, I love what I see and they are going so far as to provide a set for testing. Doesn't get much better than that. We are excited. More real world side by side testing too. not just charts. going to be fun!

Thanks Tim. Can't wait for the results. Red has changed the landscape so much. We now have, what?, three choices for a set of fast primes below $30k. Amazing.

[AnthonyFlores]

Tim, that is awesome ... can't wait to see your results! Hope you will share with everyone :)

[Tim Naylor]

Fred, is there a set in NYC available for testing? My business is in the market for lenses. All the low cost prime sets while great in many respects also have some shortcomings, some dealbreakers, others not so much.

On paper your lenses really fit the bill. Love to see how they perform, not on charts but on set and in camera.

Please contact me at: cinetim@gmail.com if there's anyway to test a set in NYC. I could actually combine it with a several other interested DP/owners to consolidate our efforts.

[Fred Salaff]

sent email

[Fred Salaff]

There will be a hands-on training seminar for lens technicians for the Super 35mm Illuminas Mon-Weds 10am-4pm in Hollywood, FL.
Location: Camera Group International.
Chief designer of the Illumina lenses from St. Petersburg will be in attendance along with Gregory Mirand, President of Luma Tech, Inc.
Luma Tech's Luma Check back focus tool will also be discussed and demonstrated.

For further info please call 323.328.0681