What's the Most FUTURE-PROOF Cine Lens?

[AnthonyFlores]

Hi Guys,

I've read through some previous threads and I've also looked at this page:

http://web.me.com/ducloslenses/DataRef/ImgCir.html

And still, I'm not quite sure which sets of cine lenses will give full coverage for the Epic Super 35 Sensor -- as it appears the Epic S35 is larger than standard S35.

According to the chart, the Zeiss Master Prime set will give complete coverage from 16mm all the way to 100m.

Cookes S4's will cover from 25mm to 150mm -- but the 12mm to 21mm lenses will vignette.

(Does anyone know if the Cooke 5i's have more coverage? They seem larger and their website states they will cover S35, but not sure if that applies to Epic 5k S35 sensor.)

Also, the new Leicas look AMAZING ... but I'm curious about their coverage as well.

The next thing is ... FF35 sensor. As of now, it seems that the only set that will fully cover the FF35 that many members of this board are so excited about are the Zeiss CP2's -- which are nice lenses, but not on par with the Master Primes, Cookes or Leicas.

That's why I mentioned "future proof" in my subject, I'm curious about the plans of those who intend on owning or even extensively renting high-end Cine lenses once the Epic-X and Epic FF35 come out.

Thanks in advance for your responses!

Anthony

[Pawel Achtel]

"Future proof" is an oxymoron. Buy or rent what is good enough for the job at hand.

[AnthonyFlores]

For those who say, "Don't buy your Cine lenses -- just rent them" ... I'm working on a business plan/executive summary for a production studio next year that will do 1/3 non-profit, 1/3 narrative/features, and 1/3 marketing commercial work.

We can realistically receive up to $5 million in startup capital, and I'm pretty sure we can almost break even on the lenses, just by renting them (not to big studios, I realize).

Also, our schedule will be unpredictable at times and I have a feeling the best lens sets are not always in stock to rent when needed.

So that's my reasoning for buying full sets, rather than renting. Thx!

[AnthonyFlores]

Pawel, I know -- I hesitating using the "future proof" cliche ... it's almost as bad as "game changer" but I knew it would get people's attention and there's some truth in it. I want to plan intelligently for future camera releases.

[Pawel Achtel]

My expectation is that Monstro FF35 sensor is at least 2 years away, so I'd be aiming to get S35 lenses rather than FF35 because of much bigger choice of good cine lenses covering this format. If and when FF35 sensor is available, chances are cine-style glass will follow soon after.

If you need speed, Master Primes are hard to beat. I'd be weary of the new Leica lenses due to poor customer service and support. Sorry, I had a really piss poor experiences with Leica support. Arri customer service is second to none. Red Primes are also good and probably the best value for money.

Hope it helps.

[AnthonyFlores]

Thanks Pawel, and btw very impressed with your work.

But part of my question was regarding coverage of the Epic sensor, which seems to be slightly larger than standard S35, based on the chart from Duclos.

Seems true that the all the Master Primes fully cover and good to know you had a great experience with them -- hoping someone can chime in regarding Cooke 5i and Leica.

Thx :-)

Anthony

[Sanjin Jukic]

My expectation is that Monstro FF35 sensor is at least 2 years away, so I'd be aiming to get S35 lenses rather than FF35 because of much bigger choice of good cine lenses covering this format. If and when FF35 sensor is available, chances are cine-style glass will follow soon after.

If you need speed, Master Primes are hard to beat. I'd be weary of the new Leica lenses due to poor customer service and support. Sorry, I had a really piss poor experiences with Leica support. Arri customer service is second to none. Red Primes are also good and probably the best value for money.

Hope it helps.


Pawel,

sorry but you are still spreading sort of FUD about Leica customer service here at the forum.

[Pawel Achtel]

Pawel,

sorry but you are still spreading sort of FUD about Leica customer service here at the forum.

Sorry Sanjin, this is no FUD, it is my personal, first-hand experience.

If, after sending about a dozen emails there is no response or responses coming from different people within Leica or its Australian distributor, ADEAL are consistently incompetent in a way that they do not address the simple questions that are asked, the experience dealing with Leica is akin to extracting teeth with a screwdriver.

It would be unfair for me to recommend Leica when companies like Arri and Red provide such an outstanding customer service that dealing with them is a real pleassure.

Leica makes good glass but sadly my experience in getting support is on the extreme opposite of what other players do.

I have absolutely no interest to favour one manufacturer over another or spread FUD, just my personal experience, you can share yours, if you like.

[Matt Uhry]

I don't think the coverage issues of the Epic are going to be all that big a deal once you crop to an actual shooting or delivery format: 16:9, 1.85, 2.35 add 10% for look-a-round. Voila! now every current 35mm lens will cover just fine...

2:1 while having it's fans, and probably being a good idea, is not really something that theaters or broadcasters can or want to handle. Sorry Vittorio, the projectionist or engineer dude at the TV station has final cut !

OK - what to buy ?

Owner Lenses: You usually get to choose / dictate what gets used on productions
$$ Duclos 11-16,
$$ RPP's - A great "owner" set of lenses. Performs WAY above it's price.

Rentals: Fickle DP's spending other peoples money.
$$$$ Leica's - I think they nailed it in every respect with this lens set. Size, Speed, Resolution, Ergonomics.
$$$ Ultra Primes - Classic Solid Mid budget Rental set.
$$$ Any Angenieux Optimo

Just my opinions...

Matt Uhry
www.mattuhry.com



Matt Uhry
www.mattuhry.com

[OptiTek]

Thanks Pawel, and btw very impressed with your work.

But part of my question was regarding coverage of the Epic sensor, which seems to be slightly larger than standard S35, based on the chart from Duclos.

Seems true that the all the Master Primes fully cover and good to know you had a great experience with them -- hoping someone can chime in regarding Cooke 5i and Leica.

Thx :-)

Anthony
Jim just stated in another thread that the recordable area on the Epic is
"27.65mm x 14.58" which gives the image circle of 31.258mm that's pretty close to Motion Picture full aperture or Super 35. I don't think you'll have Any significant issues with any modern primes. I seem to recall that years ago I made a test and Cooke S4s 18mm and 14mm did not cover Super 35 format (full aperture) so they could have issues. But it's been so long ago that it might have changed.

[Sanjin Jukic]

Sorry Sanjin, this is no FUD, it is my personal, first-hand experience.

If, after sending about a dozen emails there is no response or responses coming from different people within Leica or its Australian distributor, ADEAL are consistently incompetent in a way that they do not address the simple questions that are asked, the experience dealing with Leica is akin to extracting teeth with a screwdriver.

It would be unfair for me to recommend Leica when companies like Arri and Red provide such an outstanding customer service that dealing with them is a real pleassure.

Leica makes good glass but sadly my experience in getting support is on the extreme opposite of what other players do.

I have absolutely no interest to favour one manufacturer over another or spread FUD, just my personal experience, you can share yours, if you like.

Pawel,

I can understand now what happened to you and it's a pitty.

But also must consider that companies like an old Arri or newbie like a REd didn't change its owner.

That happened to Leica recently and this could be the key for a service situation.

The latest Leica owner probably doesn't want to have more responsibilities for any older, vintage or rehoused Leica lenses.

Also there are many lens services worldwide that are dealing with any sort of vintage glass.

It's too expensive to keep track on servicing thousands of lenses that new Leica camera AG company didn't make.

If you buy Leica brand name doesn't automatically make you responsible for every Leica made product started

from "Oskar Barnack's genius idea of creating the small format 35 mm camera created a revolution in photography in 1925",...

[Ivan Kovax]

Thanks Pawel, and btw very impressed with your work.

But part of my question was regarding coverage of the Epic sensor, which seems to be slightly larger than standard S35, based on the chart from Duclos.

Seems true that the all the Master Primes fully cover and good to know you had a great experience with them -- hoping someone can chime in regarding Cooke 5i and Leica.

Thx :-)

Anthony

Not sure about the Cooke or Leicas but you can be certain that Red's Primes will cover you if you are willing to give them a go.

They match up to the best, but unfortunately are a tad on the weighty side.

I would suggest a good starting point would be to work out what lens set you would consider would get most use and be put to work the best in your Production house then work from there.

[Evin Grant]

Honestly with the sensitivity of the MX chip there is a significant argument for zooms. The entire Optimo line is amazing and allow for very fast setup changes while still being beautiful and sharp. If you can afford the cost and wait/weight the 12:1 24-290 T2.8 is litterally on every show I work on. It is the definition of a work horse, add the 16-42 and 30-80 Rouges for handheld/sdeadicam and you're set except for the odd super wide.
If you'd still like to add primes get RPPs, they're a bargain.

If all you're going to get is primes then the Leicas would be my "No price limit" choice simply because I'm in love with my M9 and M Summicron lenses.

But seriously, the Optimos are the shit, I'm planning on buying the 16-42 this year and the 30-80 next.

[Steven-Marc C.]

Speaking of zooms, the new Zeiss Lightweight Zoom seems interesting. Would love to see some kind of comparison test with Red's RPZ.

[Paul Hazlett]

The RPZ 17-50 punches WAY above its weight class, anyone that has used it loves it. and at 6k its a no brainer. might be a 18-50 at 5k but still....

[Antoine Fabi]

...But seriously, the Optimos are the shit, I'm planning on buying the 16-42 this year and the 30-80 next.

Hi Evin,

They certainly have a magical feel in their image rendering, no doubt :)

I wonder if they'll cover 5K...


Antoine

[OptiTek]

Speaking of zooms, the new Zeiss Lightweight Zoom seems interesting. Would love to see some kind of comparison test with Red's RPZ.
IMO Zeiss couldn't make a good zoom if their life depended on it.

Before you flame me to death::emote_couch:
I've serviced ad repaired lenses for 25 years.

[Mitch Gross]

Have you seen the Master Zoom?

[OptiTek]

Have you seen the Master Zoom?

Have you seen Dalsa camera? I think they hold the same status in the industry:
rare, magnificent, expensive and insignificant:angelsad2:

[Mitch Gross]

Okay, but I think there's a pretty big gap between "couldn't make a good zoom if their life depended on it" and "rare, magnificent, expensive and insignificant."

[OptiTek]

Now that's certainly a POV:001_tongue:

[AnthonyFlores]

IMO Zeiss couldn't make a good zoom if their life depended on it.

Before you flame me to death::emote_couch:
I've serviced ad repaired lenses for 25 years.

Jacek, in your opinion who makes the best zoom lens? The Cooke zoom ...

http://www.zgc.com/webstore.nsf/products/cooke_cxxzoom

Though this is fairly limited in focal length, and they don't seem to have any
others for 35mm.

Just curious ...

Anthony

[Pawel Achtel]

Jacek, in your opinion who makes the best zoom lens? ...

"best" means different things to different people. For Jacek the best lens is the one that he can charge most for to repair, no? :smilielol5:

For other people, "best" may mean, small, big, fast, slow, sharp, soft, inexpensive, expensive, having a specific "look", well build, doesn't breathe, good mechanics, having xxx mount, ...and just abouty infinite number of features. It is like asking what is the best car.

I don't like zooms because, in general, they are heavy, slow and distort...unless I need to get two different focal length shots with little time to spare...then I'd love to have a zoom...and almost every time a different one too :)

[George Butterfield]

I'm working on a business plan/executive summary for a production studio next year that will do 1/3 non-profit, 1/3 narrative/features, and 1/3 marketing commercial work.a business plan that does 1/3 non-profit? Recipe for disaster.

[Brian Petrie]

a business plan that does 1/3 non-profit? Recipe for disaster.

Haha, depends on what "non-profit means" means. If he is just talking about a lot of the job offers I get these days. They are not charity, they just are not profitable.:smile5:

[AnthonyFlores]

a business plan that does 1/3 non-profit? Recipe for disaster.

LOL, naw that just means there will be a non-profit division that once per
quarter, takes charity or non-profit organization and makes a short film
about what they're doing (for free). This will be a piece they can use
to generate an emotional response in people, and ideally attract much
more funding.

The non-profit and the "for profit" business have no connection, other than
that they will share some of the same equipment, and also a portion
of the profits will go to making sure these non-profit films are properly
subsidized.

It's like a form of tithing ...

[Charles Angus]

Speaking of zooms, the new Zeiss Lightweight Zoom seems interesting. Would love to see some kind of comparison test with Red's RPZ.

I've used the LWZ, and I liked it. Sharper than old primes like the Supers and Standards. Reasonably fast.

Basically, just what you would expect from an Arri/Zeiss product.

Haven't tried the 17-50, so can't comment on a comparison.

[Antoine Fabi]

"...
For other people, "best" may mean, small, big, fast, slow, sharp, soft, inexpensive, expensive, having a specific "look", well build, doesn't breathe, good mechanics, having xxx mount, ...and just abouty infinite number of features..."


So true, so false :) :) :)

Antoine

[OptiTek]

Jacek, in your opinion who makes the best zoom lens? The Cooke zoom ...

http://www.zgc.com/webstore.nsf/products/cooke_cxxzoom

Though this is fairly limited in focal length, and they don't seem to have any
others for 35mm.

Just curious ...

Anthony
Rather than beat around the bushes I'll be brief- Angenieux- no question about it.
Back in '87 I decided on the Cooke 18-100 against angies 17-102 for what's now Panavision New York and it was the best choice. Today the Optimo line is the industry leader.
Including the Rougue line. Welcome with open arms on any film set budget large or small.
From the service/repair stand point they are also friendly and not so expensive to maintain.(Yes Pawel:reddevil:)
Other than being intimately familiar with these lenses I have no connection/benefits from Angenieux

[Sanjin Jukic]

Angenieux Optimos are the industry standard and cut nicely with Carl Zeiss Master Primes, Ultra Primes, Cookes and Panavision Primos.

But all of these professional glass have huge issues with flares for example with the sun direct lights or car night lights (@ wide open) either.

The latest optical innovations using an aspherical glass elements and also new coating technologies still didn't remove some of the main lens aberrations (SEIDEL's five aberrations).

In the future it remains to see if so called professional cine glass with a high end mechanical performance but not any more optical will survive the latest industry trend of cheaper financial models.

The latest DSLR revolution just showed to everybody in this industry how good results and what is possible to achieve with using still photo glass in production.

Even Carls Zeiss and Angenieux offer today some of their latest high end cine glass with still photo mounts (Canon EOS, Nikon F,...).

[AnthonyFlores]

Thanks Sanjin.

Also, when I started the thread I asked about lenses that would work on
the FF Epic and Scarlet, and one thing I never knew existed was 65mm
lenses that Arri/Zeiss developed for the Phantom 65.

Abel rents them here:

http://www.abelcine.com/store/ARRI-Zeiss-Maxi-PL-Primes-for-Phantom-65/

I wonder if they are the same image quality as the Master Primes.

Obviously, for a VERY small market segment at this point. But maybe
as the FF Red Models and then the 645 and 617 come out, there will be
more available like this.

Anthony

[Sanjin Jukic]

http://homepage.mac.com/sanjinjukic/RED/Leica21mm-C_on_Epic.jpg
From FDTimes:Leica_Report V2, page 13. >>> (http://www.fdtimes.com/articles/leica/Leica_Report_10-10MedRez2-up.pdf)

EPIC lightweight cine digital camera 2.3 kg (5 lbs) + Leica Summilux-C lens lightweight & fast cine lenses 1.6 - 1.8 kg (3.5-4.0 lbs) = 3.9 - 4.8 kg (8.5 - 9.0 lbs)

[Andrew Rieger]

If you want to own your own lenses and still be able to pay the bills, I would seriously consider the RPP's. They are stellar lenses for the price.

If price is no object than these would be my choice:

1. Primes: Zeiss Master Primes. They are the gold standard. Period.
2. Zooms: Angenieux. The gold standard of zooms. Period.

About Leica. I am not sure why everyone is worshiping Leica's feet with the C primes. Will they be good? I'm sure but I would wait for them to establish themselves in the industry before dropping down six figures for the complete set. Why does everyone assume that Leica releases gold every time? They have had some phenomenal products, some good products and some bad products, just like every other company. I would bet money that they will be stellar but I would wait till they shoot some high profile material before I purchased. Besides, good luck getting a set anytime soon.

[Evin Grant]

Anthony, all those lenses use the Hasselblad formulas. They are very good but not unique designs. I've yet so see the barrels but I'd imagine they are nice like all of Zeiss's cinema lenses.

[AnthonyFlores]

If you want to own your own lenses and still be able to pay the bills, I would seriously consider the RPP's. They are stellar lenses for the price.

If price is no object than these would be my choice:

1. Primes: Zeiss Master Primes. They are the gold standard. Period.
2. Zooms: Angenieux. The gold standard of zooms. Period.

About Leica. I am not sure why everyone is worshiping Leica's feet with the C primes. Will they be good? I'm sure but I would wait for them to establish themselves in the industry before dropping down six figures for the complete set. Why does everyone assume that Leica releases gold every time? They have had some phenomenal products, some good products and some bad products, just like every other company. I would bet money that they will be stellar but I would wait till they shoot some high profile material before I purchased. Besides, good luck getting a set anytime soon.


Andrew, well I think some people are buying on the basis that Leica glass
has been incredibly stellar on their still lenses ... and even more because
it was Leica glass in most (maybe all?) of the legendary Panavision lenses.

So this is almost like being able to buy Primos brand new ;-)

But I get your point. It's a HUGE investment for something that's yet to
be battle-tested on feature films.

I personally (if money is no object) would probably go in the direction of
the Cooke 5i series. I know some people hate the "warmth" or the notion
of the lens adding anything to what's shot (rather than doing it in post)...

But the build quality, glass and technology seems amazing, and I
personally love the "Cooke look" from the films I've seen where they are
used. I believe they are being used for Scorcese's first 3D film right now.

Again, I agree with you on the RPP's. Unless I got outside funding or
started to rake in millions of dollars from projects, I will most likely invest
in those ...

Thanks,

Anthony

[AnthonyFlores]

Anthony, all those lenses use the Hasselblad formulas. They are very good but not unique designs. I've yet so see the barrels but I'd imagine they are nice like all of Zeiss's cinema lenses.

Interesting about Hasslebad. I guess part of me is curious about whether
these lenses are essentially "Master Primes" (in build and image quality)
with the only difference being the larger coverage area.

From the daily rental price ($2000) I would assume so. And if that's the
case, it seems smart for anyone getting a set of Master Primes to get
these instead ... and be able to use them on all future Epic cameras.

But maybe they're not exactly the same as the Master Primes ...

Anthony

[Pawel Achtel]

...But maybe they're not exactly the same as the Master Primes ...

Optically and mechanically I have no reason to believe that they are substantially different. I like the smaller size of the Leicas.

But, my first hand experience with both brands is that there is substantial difference in customer support. Not only Arri has a world wide support network, but their service is second to none. Leica's is just none. :mad2:

[Sanjin Jukic]

Optically and mechanically I have no reason to believe that they are substantially different. I like the smaller size of the Leicas.

But, my first hand experience with both brands is that there is substantial difference in customer support. Not only Arri has a world wide support network, but their service is second to none. Leica's is just none. :mad2:

Pawel,

your experience with Leica customer service has nothing to do with Leica just because you wanted to service the lenses that were mechanically remade and redesigned from third party...

Please don't try to spread the FUD that Leica tried out to sell people expensive set of perfect cine lenses and leave them without a proper customer service.

If the name of Otto Nemenz International, Inc. (http://www.ottonemenz.com/AboutUs), that is one of the Leica partners in making of their Leica-C lenses, doesn't tell you anything about the quality service

then in that case nobody can help you with this kind of thinking anyway... :biggrin:

[Matt Uhry]

Hi Guy's

The Maxi PL set is an old set from when Arri was chasing 65mm with the 765. Not a high performance set for s35mm frame sizes. Nice set for large format, but there are a few other options.

for me the Master Primes, while excellent, miss one of the reasons that you would use a prime - when size and weight are important. Cameras keep getting smaller....

I've done some informal testing with a few of the Leica's and they were really good. I'm sure the retail service centers and the ones that will support the cine lenses will be different with different attitudes.

In Lenvy we trust.

Matt Uhry
www.mattuhry.com

[AnthonyFlores]

Hi Guy's

The Maxi PL set is an old set from when Arri was chasing 65mm with the 765. Not a high performance set for s35mm frame sizes. Nice set for large format, but there are a few other options.

for me the Master Primes, while excellent, miss one of the reasons that you would use a prime - when size and weight are important. Cameras keep getting smaller....

I've done some informal testing with a few of the Leica's and they were really good. I'm sure the retail service centers and the ones that will support the cine lenses will be different with different attitudes.

In Lenvy we trust.

Matt Uhry
www.mattuhry.com

Thanks for the insight Matthew. Exciting times in this industry and I'm sure
we'll see a lot of cool happenings when it comes to lenses.

What's your opinion on the Cooke 5's? I know they are large as well, maybe
not as big as the MP's ... but curious about your opinion. They cover the
S35 format, but not sure if their wide lenses will fully cover the Epic.

There are a couple places that carry them now in LA -- I may rent them for
a short project and see how I like them.

Thanks,

Anthony

P.S. -- I agree with you ... whatever Leica's support issues in the past, it's
hard to imagine them or BandPro not fully taking care of a customer who
drops nearly $200,000 on a set of lenses.

[Matt Uhry]

I have not messed around with the S5's yet. I'm sure they are nice, but the size and weight...

Interesting times indeed. Now your compact close focus run around hand held all day lens is a zoom - like the Optimo Rouges. The primes all got chunky and are better for studio style work.

If you are local, we can have a beer and geek out on lenses. Drop me a PM.

Matt Uhry
www.mattuhry








Thanks for the insight Matthew. Exciting times in this industry and I'm sure
we'll see a lot of cool happenings when it comes to lenses.

What's your opinion on the Cooke 5's? I know they are large as well, maybe
not as big as the MP's ... but curious about your opinion. They cover the
S35 format, but not sure if their wide lenses will fully cover the Epic.

There are a couple places that carry them now in LA -- I may rent them for
a short project and see how I like them.

Thanks,

Anthony

P.S. -- I agree with you ... whatever Leica's support issues in the past, it's
hard to imagine them or BandPro not fully taking care of a customer who
drops nearly $200,000 on a set of lenses.

[Pawel Achtel]

...your experience with Leica customer service has nothing to do with Leica just because you wanted to service the lenses that were mechanically remade and redesigned from third party...

Please don't try to spread the FUD that Leica tried out to sell people expensive set of perfect cine lenses and leave them without a proper customer service.


As usual, Sanjin, you are incorrect. I tried to get a part for a stock standard, non converted Leica lens. They refused to service me because of ANOTHER lens that I also had and that was converted to PL mount. The fact that you are persistently misinterpreting my own experiences is totally inappropriate.

Unfortunately ADEAL, which is the only authorised Leica dealer in Australia, has one of the worst customer service I've ever come across. The fact that Leica won't let me deal with anyone else is their own disfunction in complete disrespect of its customers.

Anyway, you will be pleased to know that after almost a year of writing countless emails to both Leica and ADEAL I finally managed to purchase the f....g $120 LENS CAP that I needed a year ago, which they obviously had in stock, just couldn't bother moving their fat asses to serve me as a customer.

Unlike you, I use both brands and not discriminate based on the brand name. I had two completely different experiences as a customer.

In contrast to this, Arri's support and customer service are consistently excellent. I can highly recommend them to anyone, not just the product. They will bend backwards to make sure that you are happy with the product long after the sale. Spare parts are readily available and the General Manager himself is even willing to hand deliver even the tiniest part to me personally even on weekend or invite me for a coffe.

These companies are worlds apart.

[Sanjin Jukic]

Pawel,

I believe you but also let you know that Leica cine set is distributed by another channel that has anything to do with the service of Leica still glass that's as you were already reported here very bad in Australia.

Btw, Arri doesn't not service their branded lenses because they do not have facilities to do that and they just forward the lenses to their partners: Carl Zeiss or Fujinon as a newest one.

[Pawel Achtel]

Btw, Arri doesn't not service their branded lenses because they do not have facilities to do that and they just forward the lenses to their partners: Carl Zeiss or Fujinon as a newest one.

Sanjin, this is also entirely incorrect. Arri does service Arri Zeiss lenses. They have specialised Zeiss-trained and certified technician (Mr. Rey Adia) and equipment here in Sydney and all Master Primes, Ultra Primes and zooms can be serviced and fully tested to the highest standards.

Where do you dig up all this BS from, Sanjin?

[Sanjin Jukic]

Sanjin, this is also entirely incorrect. Arri does service Arri Zeiss lenses. They have specialised Zeiss-trained and certified technician (Mr. Rey Adia) and equipment here in Sydney and all Master Primes, Ultra Primes and zooms can be serviced and fully tested to the highest standards.

Where do you dig up all this BS from, Sanjin?

Pawel,

under certain degree Arri can do it in Sidney or any other lens service can do basic and limited things

like a PL mount damaged or exchange required, aperture defect, flange-to-film/sensor distance defect, zoom ring rough/uneven,

poor image quality / contrast, filter ring damaged, numbers ring damaged, etc

but if you for example have a damage caused by dropping or impact, aspherical lens elements damaged

than you would need a special lab that Carl Zeiss have in Oberkochen, Germany and they can do it for you only there.

Just because cine lenses anyway do not have a huge volume of production that means

to have worldwide lab network with extremely expensive equipment and highly trained technicians is probably too expensive for any brand.



Hope that finally helps you to get what I'm talking about.

[Pawel Achtel]

never mind :rolleyes:

[Blair S. Paulsen]

I don't think the coverage issues of the Epic are going to be all that big a deal once you crop to an actual shooting or delivery format: 16:9, 1.85, 2.35 add 10% for look-a-round. Voila! now every current 35mm lens will cover just fine...

2:1 while having it's fans, and probably being a good idea, is not really something that theaters or broadcasters can or want to handle. Sorry Vittorio, the projectionist or engineer dude at the TV station has final cut !

OK - what to buy ?

Owner Lenses: You usually get to choose / dictate what gets used on productions
$$ Duclos 11-16,
$$ RPP's - A great "owner" set of lenses. Performs WAY above it's price.

Rentals: Fickle DP's spending other peoples money.
$$$$ Leica's - I think they nailed it in every respect with this lens set. Size, Speed, Resolution, Ergonomics.
$$$ Ultra Primes - Classic Solid Mid budget Rental set.
$$$ Any Angenieux Optimo

Just my opinions...

Matt Uhry
www.mattuhry.com



Matt Uhry
www.mattuhry.com

I couldn't agree more.

Cheers - #19