Thread: Red Primes or Canon or other cinema lenses

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  1. #11  
    Senior Member Matthew Quinn's Avatar
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    You are going to want a lens that stops at 1.4. the canon Prime Lenses are great for what i do. But they can get pricey, I think Red is pretty much out of the lens game... stick with the companies who are known for their lenses (Canon, Zeiss, etc)
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  2. #12  
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    Andreas, I would say that unless you're looking to get into serious lens rental, converted stills glass is the smartest way to spend your money. You can still do doc and music video work with them (mixture of zooms and primes) but the primes will also be fast enough to allow you to do reasonably good drama work and will have FF gears etc.

    There are cut price cinema style lenses such as the Canons and Compact Primes, but really those lenses are mostly not sharp unless they're stopped down, which slightly defeats the point. You can do a job with them, but the rental market is very limited. If I *had* to spend money in that bracket right now, I would probably look at Schneider Xenons, which well respected people rate very highly in terms of value. Cooke Mini S4's are lovely, but you pay a little more for them. You may also want to look at this: https://celerelenses.com
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  3. #13  
    Senior Member AndreasOberg's Avatar
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    Angus, no I'm not really looking into rentals. Which conversions would you recommend. The ones from GLOptics for example?
    They are not so much cheaper than the Red Primes I would say. I haven't found a converted medium range zoom comparable to the Red Zoom 18-85. I think the Red Zoom is both pretty cheap and seems to have a good image quality. Only downside I can see is that its heavy.

    I think my plan is something like this:
    - Red Prime 18mm, 35, 300, order a used 85 and maybe a 50 later.
    - Red Zoom 18-85 T2.9
    Then later maybe a GLOptics 70-200 T2.9
    That way I would have a zoom from 18-200mm and several more light sensitive primes in between. Are there any other zooms I should look at? Most cine seem to be around 20-40k each.

    The for light weight docu work I think I will keep using our current Canon lenses since we have so many still lenses.
    Cheers!
    /Andreas
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  4. #14  
    Senior Member AndreasOberg's Avatar
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    I wrote Duclos and asked for advice and he suggested the Zess Otus lenses.
    I haven't read up on them so will do. Some nice points
    1.2kg
    1.4
    Semminly very sharp and very little CA. Does anyone know how it compares to the Red Prime 85. I always thought the Red 35 had stellar quality.

    Now I can't decide what to think of having Canon mount for cinema gear. Of course its great that you can switch to still canon lenses very quickly, but it also means switching to PL lenses will be painful.
    Anyone has thoughts?
    /Andreas
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    www.WildlifeRescueMovie.com- Saving the animals of the Rainforest!
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  5. #15  
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    each one have it's advantages and defects,which point is the most important to U?
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  6. #16  
    Red Pro Primes aren't that great for what I do. It's probably borderline blasphemous here, but after the rehousing of the glass, it ended up just being large, heavy, and the witness marks aren't even close to being good, in comparison to cinema lenses done right. Almost every professional 1st AC I know here in LA can't stand them. I've got some funny stories I can tell but I'd be beating a dead horse with my point.

    Optically, they aren't bad. But all the effort and cost of making them cinema lenses resulted in a less-than-desired cinema lens.

    I'm speaking strictly from a standard professional film set kinda view. Rentals, pro 1st AC's pulling by distance, etc.

    If you are a one-man band videographer who doesn't rent to productions and you pull focus off a monitor/by eye, you might as well just buy 'cinevised'/modded/manual photography glass. Only higher end cinema lenses tend to beat quality photography lens in worthwhile ways. Many lower tier bargain cinema lenses are rehoused photography glass. I don't know you or how you work. But from the world i work in, RPP's aren't a consideration and haven't been for years.

    My .02
    Thank you Red Team for unlocking/correcting the i/data technology. Cooke lenses are reading correctly and all his happy in Cooke/Epic land. Thanks!
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  7. #17  
    Senior Member NOSA OBAYIUWANA's Avatar
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    I am going to veer of point here (and I know I risk being crucified). If most of your work is documentary.... you really should look at selling your Red and buying the C300 MII. It is almost perfect for docu work. Plus the face detection/auto focus with your Canon lenses is a feature set literally no other camera can equal right now.

    I have tested it and it is AWESOME. This single feature puts it above the Amira (which I have on order) and Red for documentary work. Also its 2K 12bit and 4K are stellar. You would get to keep your Canon Ls which are perfect for the C300 M2 and never have to play with manual focus again.
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