Thread: Testing new native RF mount 1.8x Anamorpic lens

Reply to Thread
Page 2 of 4 FirstFirst 1234 LastLast
Results 11 to 20 of 37
  1. #11  
    Senior Member
    Join Date
    Dec 2006
    Location
    Winnipeg, MB, Canada
    Posts
    1,419
    Please keep us posted!
    Reply With Quote  
     

  2. #12  
    Senior Member
    Join Date
    Jul 2020
    Location
    NY / GA
    Posts
    114
    Quote Originally Posted by Jeremy Torrie View Post
    Please keep us posted!
    Will do!

    Also just a note for everyone. When RED offers more sensor crop options via firmware in Komodo it looks like the Vazen 40mm and 65mm should fully cover Komodo 5k HD (16:9). So if you’re wanting that super wide 3.66:1 (actually think it’s more like 3.50:1) you can get that at 5k no problem.

    Also for reference 4.5k on Komodo is right about m4/3 sensor size.
    Cinematographer and gaffer for 16 years. Working in TV and feature films.

    Authorized dealer for over 100 brands of Audio / Video gear and accessories including Teradek, Vazen, Tokina, AngelBird, Black Magic Design, Oconnor, Anton Bauer, SmallHD, Steadicam, Litepanels, Sachtler, and more!

    GEAR: RED Komodo Stormtrooper, Cooke 20-100, Canon FD SSC (K35) Primes, RED Pro Primes, RED 17-50.

    Reels and info:
    www.NYCinematography.com

    CEO of sales company:
    www.EverestStudios.TV
    Reply With Quote  
     

  3. #13  
    Interesting development.

    Glad to see you can offer some input what practicality of focal lenghts and matched sets mean in a film production context. But kind of sad to see that you can't consider the 28mm to be part of at least a 2-focal-lenght-base to start with. Long way to go until there's a 3-4 focal lenght set available I assume. Still, best of luck with the effort!
    From an outside perspective it seems to be an interesting choice to start with 3 different, unmatched kind of lenses for different formats and mounts.
    I just checked the 28mm and it really looks different. Way less optical correction happening. Personally I like the 28mm better somehow. But glad to see the 65mm announced.

    Wondering about coverage, but the 28mm is easily too wide for 90% of shooting on S35 sensors. But this leaves customers basically with two lenses per format. Maybe three then for S35/M43 if you don't care about the different characteristics.
    I'm just wondering if extending the matching offerings for M43 and S35 would cover most of the need and would bring a sub 10K matched set of anamorphics somewhat closer to reality.
    Not trying to bash the products, just wondering about R&D choices and market needs.

    If they are redesigning the whole back section, please add feedback for some fixed-screw-down lens support. RF will need that too.
    Last edited by Andreas Eymannsberger; 09-12-2020 at 01:18 AM.
    Reply With Quote  
     

  4. #14  
    Senior Member
    Join Date
    Jul 2020
    Location
    NY / GA
    Posts
    114
    Quote Originally Posted by Andreas Eymannsberger View Post
    3 different, unmatched kind of lenses for different formats and mounts.
    I just checked the 28mm and it really looks different. Way less optical correction happening. Personally I like the 28mm better somehow. But glad to see the 65mm announced.

    interesting choice to start with 3 different, unmatched kind of lenses for different formats and mounts.

    Wondering about coverage, but the 28mm is easily too wide for 90% of shooting on S35 sensors.
    The 28mm is a different optical design from an expired Panavision patent. This is why it looks different. It actually as more optical correction going on for stretch compensation.

    They are not starting with 3 different unmatched lenses. They are just starting 2 different lines. The full frame and the M4/3. The M4/3 just happens to cover Academy 35mm, so adding RF and Sony E mounts was a no brainer.


    Unfortunately their original target audience was very much the amateur filmmaker and stills photographers, both who didnt understand or have setups to handle a regular anamorphic lens. Vazen had people complaining about the size of the 40mm T2.0 so they decided to make their next lens smaller, hence the 28mm different optical design and size. Vazen is not a 100 year old optics company, they are new, and they are learning the market. I'm trying to help them with that on the pro market side.

    They will eventually have a matching set for the Academy 35mm coverage lenses, and the full frame coverage lenses. They are just doing it 1 lens at a time vs in sets. Allowing sales to happen and slowly grow.


    The 28mm was I think an unfortunate gaff when it comes to understanding professionals need matching sets, they were talking to stills people and weekend filmmakers instead of the pros. The good news is Vazen learns QUICK.
    So they are refining their sets now.


    I think the 65mm will actually be officially released in the next month, so they will have 3 lenses in the Academy 35mm coverage and 1 in the full frame. I know they are planning to expand both. So for now, it will be one lens at a time.


    Personally I think starting with the 40 and then 65 is great, those 2 lenses can get a lot done in anamorphic use, specially on a RED komodo. Dont forget, if the 28mm doesn't cover 6K Academy 35mm on Komodo, all you have to do is change your capture size to 4.5K and the 28mm will work. I don't have a prototype for the 28mm RF mount, so I cannot confirm its coverage just yet.


    In the end I'm hoping / thinking their "matching set" for academy 35mm coverage will be 40mm, 65mm, 100mm which is a fantastic usable set. Remember that Atlas did the same thing. The 28 might be that specialty wide angle lens option you need, so it may not "match" characteristics wise, but it is definitely usable within the set, it just might not be mechanically / optically the same.


    These are my personal views. I think they are doing a great job at expanding and listening to the market. Going forward they have good plans to have a great set of anamorphic lenses under 10K
    Cinematographer and gaffer for 16 years. Working in TV and feature films.

    Authorized dealer for over 100 brands of Audio / Video gear and accessories including Teradek, Vazen, Tokina, AngelBird, Black Magic Design, Oconnor, Anton Bauer, SmallHD, Steadicam, Litepanels, Sachtler, and more!

    GEAR: RED Komodo Stormtrooper, Cooke 20-100, Canon FD SSC (K35) Primes, RED Pro Primes, RED 17-50.

    Reels and info:
    www.NYCinematography.com

    CEO of sales company:
    www.EverestStudios.TV
    Reply With Quote  
     

  5. #15  
    Looking forward to seeing the full set, as well as the 65mm! Any chance of a limited white edition for the RF Mount? :)
    Reply With Quote  
     

  6. #16  
    Senior Member
    Join Date
    Jul 2020
    Location
    NY / GA
    Posts
    114
    I've actually been planing on talking to them about white options, haven't brought it up though, still talking mount options. RF is the first task.
    Cinematographer and gaffer for 16 years. Working in TV and feature films.

    Authorized dealer for over 100 brands of Audio / Video gear and accessories including Teradek, Vazen, Tokina, AngelBird, Black Magic Design, Oconnor, Anton Bauer, SmallHD, Steadicam, Litepanels, Sachtler, and more!

    GEAR: RED Komodo Stormtrooper, Cooke 20-100, Canon FD SSC (K35) Primes, RED Pro Primes, RED 17-50.

    Reels and info:
    www.NYCinematography.com

    CEO of sales company:
    www.EverestStudios.TV
    Reply With Quote  
     

  7. #17  
    Quote Originally Posted by J. Orlandi View Post
    I've actually been planing on talking to them about white options, haven't brought it up though, still talking mount options. RF is the first task.
    I have one more annoying request - probably waaaay unrealistic for price point but...

    Like many folks, I mostly shoot Arri. I sometimes shoot RED. The last thing I directed that got us into festivals was on a Canon C300 mk2. Then for scouting and personal stuff I own Sony and Fuji DSLRs. The only mount I haven't used is L-mount... which ironically has the best anamorphic support!

    So:

    1. Could they just pick some adaptable mount (PL or EF or I guess even M mount) so we can adapt to many cameras? Unless this doesn't work optically...

    2. Any chance of getting some kind of deal with them where we can get mounts changed? Even if it's not user-swappable, can they do it at factory, or just give us a deal if you trade in our set? Though I guess the realities of industrial mass production may make this unfeasible.

    I know this probably costs them more... but I'd pay $1000 more for a EF or PL version for sure. It opens up more opportunities like putting NDs behind the lens too.

    -

    One final crazy note (i don't expect them to do this, but again yes I'd pay ANOTHER $1k extra for this for sure):

    If I'm buying a native RF-mount anamorphic, I would LOVE to get lens data passed across.

    Currently:
    - On the low end, plastic-fantastic stills lenses now have CA, distortion and vignetting correction in consumer Sony / Canon / etc DSLRs.
    - On the high end, Zeiss CP3 and Supremes pass info and you can remove the distortion and vignetting, do VFX, then add it back to your taste.

    For anamorphics it goes even further in the future for me, especially if you want lightweight affordable lenses making high-quality images.

    One complex thing is correction for mumps. Well, what if you built a lightweight, simple anamorphic lens with good image quality but no mump correction - but it passes the info of where the focus is to the camera - and the camera does the mump removal in viewfinder preview?

    Now I know no RED camera has built in distortion compensation in the viewfinder so it's a bit ahead of its time (understatement!). But you know it'll happen one day. It is true that for some anamorphic jobs I want all of that funky distortion... but it would be lovely to turn it off if I needed to, or turn it to half, or one-and-a-half strength. Actually for virtual set stuff (where you have to remove all of this distortion anyway, then add it back) we need to solve these problems now!

    Anyway, good luck man! Hope you are having fun with testing!

    Bruce Allen
    www.bruceallen.tv
    Reply With Quote  
     

  8. #18  
    Senior Member
    Join Date
    Jul 2020
    Location
    NY / GA
    Posts
    114
    It doesn’t work optically for any format. The flange distance is the issue. Only physically possible with short flange mirrorless designs like MFT and RF

    An update is they are ramping up to make a small first batch of RF native 40mm T2.0 lenses. No dates for availability yet, but if you’re interested, please contact me and I’ll make sure to get a list going. They will most likely sell out quickly.

    I’m going to try and get updates as they come. Their engineers are making it happen though as we speak, so shouldn’t be too long of a wait.
    Cinematographer and gaffer for 16 years. Working in TV and feature films.

    Authorized dealer for over 100 brands of Audio / Video gear and accessories including Teradek, Vazen, Tokina, AngelBird, Black Magic Design, Oconnor, Anton Bauer, SmallHD, Steadicam, Litepanels, Sachtler, and more!

    GEAR: RED Komodo Stormtrooper, Cooke 20-100, Canon FD SSC (K35) Primes, RED Pro Primes, RED 17-50.

    Reels and info:
    www.NYCinematography.com

    CEO of sales company:
    www.EverestStudios.TV
    Reply With Quote  
     

  9. #19  
    Senior Member
    Join Date
    Jul 2020
    Location
    NY / GA
    Posts
    114
    Here is a non-scientific lens test with a few different lenses including the prototype Vazen 40mm T2. Testing each lens with 2 different lighting setups for different looks. This was an esthetic test, and just to see what the feel of each lens brings with flairs and such. I was pulling my own focus so beware there are a few buzzed moments since the subject was always moving.

    Shot on Komodo 6K 2.4:1 or in 16:9 and for anamorphic and desqueeze and crop in post.

    On the bottom left corner of the video you'll see which lens is being used at the time and what T stop they are at. The prototpye vazen doesn't have an iris, so its always wide open at roughly a T1.8 (because the lack of blades)


    Cinematographer and gaffer for 16 years. Working in TV and feature films.

    Authorized dealer for over 100 brands of Audio / Video gear and accessories including Teradek, Vazen, Tokina, AngelBird, Black Magic Design, Oconnor, Anton Bauer, SmallHD, Steadicam, Litepanels, Sachtler, and more!

    GEAR: RED Komodo Stormtrooper, Cooke 20-100, Canon FD SSC (K35) Primes, RED Pro Primes, RED 17-50.

    Reels and info:
    www.NYCinematography.com

    CEO of sales company:
    www.EverestStudios.TV
    Reply With Quote  
     

  10. #20  
    Senior Member Tom Gleeson's Avatar
    Join Date
    Nov 2007
    Location
    Sydney
    Posts
    1,369
    J,

    What was Red's Reaction to the 1.8X squeeze request? We have been asking for this for nearly two years with no luck. The only response so far has been "we are looking into it." Prima facie a 1.8X squeeze should be easy but it must be more complicated than it looks?
    Tom Gleeson
    Reply With Quote  
     

Tags for this Thread

View Tag Cloud

Posting Permissions
  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts