P&S adaptability with Super speeds at DVinfo.net

Toby Watson · July 16th, 2006, 06:28 PM

I'm about to shoot a feature project on the XL2 with the P&S. Someone told me that the P&S manual claims that you should not use Zeiss distagons below 40mm because they're not compatible with the system (cause vignetting, I guess?). Anybody know any other widely used primes with nice glass that would not have this problem?
Any opinions appreciated
Toby

Craig Chartier · July 17th, 2006, 09:33 PM

I have seen this effect with these primes. it gets worse the wider you go it seems. However they made these primes for over 20 years?? and it seems that newer versions do not have the problem. so I was told to test each prime or try and gauge age by the serial number. Or go with more pricey newer glass. or go with 35 still lenes??

Toby Watson · July 24th, 2006, 08:16 AM

... I've only gotten one response to what seems like a very simple question. Thanks Craig. I don't understand why the p&s has it's own stream when noone seems to know much about it.

Eric MacIver · July 25th, 2006, 12:33 AM

Perhaps people just don't know about those lenses with the unit...

Jonathan Ames · July 26th, 2006, 07:45 PM

2nd Unit is going to be doing it's next documentary with the P+S over the next two months and we'll be reporting back on the perfromance with a number of different lens cobos on 2nd Unit. It's on this site under 2nd Unit television or at www.2nd-Unit.tv. If you can wait, I hope it helps.

Greg Milneck · July 26th, 2006, 07:58 PM

I use Super Speeds all the time with the Pro35 and never had issues. I've used all focal lengths from 14mm to 135mm. Never tried the Mini35 though. I usually shoot 16:9 Digital Betacam (DVW-790WS).

Alex Bowles · September 12th, 2006, 10:33 AM

Just did a show using the mini 35 to mount various Super Speed primes to a JVC HD-100. The vignetting was heavy enough on a 25mm to render the lens unusable. The 40mm had some slight issues, so I ended up doing all my work with a 50mm and an 85mm, which worked beautifully.

Can't offer an alternative, but can confirm the importance of finding one if you need wide angle coverage.

Hope this helps.

Alex

Eric MacIver · September 12th, 2006, 10:41 AM

Those had to be standard speeds (max aperature of f2, T2.1). They vignette noticeably on 16:9 cameras up through the 32mm, barely on the 40mm and not at all on the 50mm up.

However, with T1.3 Super Speeds you're fine with the 18mm on up. We also have an Optar 14mm that doesn't vignette at all, and there are some options for wider angle lenses than that that won't vignette.

Craig Chartier · September 18th, 2006, 08:42 PM

I'm still interested in wheather still lenes, such as NIKON or CONTAX primes also have this problem. If yor shooting with the mini, you probably can't afford to rent fast fresh hot off the line primes.

Eric MacIver · September 18th, 2006, 10:51 PM

Generally, good still camera lenses will look good, with edge-to-edge sharpness because they're built to handle a larger film plane than 35mm motion film cameras.

However, where they lack superiority is in rack focusing, zoom, matched lens "feel" and common front element sizes.

It's also difficult to find certain focal lengths in still lenses that are as fast as film lenses.

That being said, they are a viable option for saving funds.

July 16th, 2006, 06:28 PM	#1
Toby Watson New Boot Join Date: Mar 2005 Location: Sydney, Australia Posts: 9	P&S adaptability with Super speeds I'm about to shoot a feature project on the XL2 with the P&S. Someone told me that the P&S manual claims that you should not use Zeiss distagons below 40mm because they're not compatible with the system (cause vignetting, I guess?). Anybody know any other widely used primes with nice glass that would not have this problem? Any opinions appreciated Toby

July 24th, 2006, 08:16 AM	#3
Toby Watson New Boot Join Date: Mar 2005 Location: Sydney, Australia Posts: 9	I can't beleive... ... I've only gotten one response to what seems like a very simple question. Thanks Craig. I don't understand why the p&s has it's own stream when noone seems to know much about it.

July 25th, 2006, 12:33 AM	#4
Eric MacIver Regular Crew Join Date: Sep 2003 Location: Los Angeles, CA Posts: 121	Perhaps people just don't know about those lenses with the unit... __________________ http://www.IndieRentals.com RED Rentals, Camera, Grip, Lighting, Sound, Post and More. http://www.madmojo.com Production blog.

July 26th, 2006, 07:58 PM	#6
Greg Milneck Regular Crew Join Date: Sep 2004 Location: Baton Rouge, LA Posts: 145	I use Super Speeds all the time with the Pro35 and never had issues. I've used all focal lengths from 14mm to 135mm. Never tried the Mini35 though. I usually shoot 16:9 Digital Betacam (DVW-790WS). __________________ www.digitalfx.tv

September 12th, 2006, 10:33 AM	#7
Alex Bowles Regular Crew Join Date: Nov 2005 Location: NYC Posts: 49	yes, the problems are real Just did a show using the mini 35 to mount various Super Speed primes to a JVC HD-100. The vignetting was heavy enough on a 25mm to render the lens unusable. The 40mm had some slight issues, so I ended up doing all my work with a 50mm and an 85mm, which worked beautifully. Can't offer an alternative, but can confirm the importance of finding one if you need wide angle coverage. Hope this helps. Alex

July 17th, 2006, 09:33 PM	#2
Craig Chartier DVi Contributor Join Date: Mar 2006 Location: Austin Texas Posts: 374	I have seen this effect with these primes. it gets worse the wider you go it seems. However they made these primes for over 20 years?? and it seems that newer versions do not have the problem. so I was told to test each prime or try and gauge age by the serial number. Or go with more pricey newer glass. or go with 35 still lenes??

July 26th, 2006, 07:45 PM	#5
Jonathan Ames 2nd Unit TV Join Date: Oct 2005 Posts: 509	2nd Unit is going to be doing it's next documentary with the P+S over the next two months and we'll be reporting back on the perfromance with a number of different lens cobos on 2nd Unit. It's on this site under 2nd Unit television or at www.2nd-Unit.tv. If you can wait, I hope it helps.

September 12th, 2006, 10:41 AM	#8
Eric MacIver Regular Crew Join Date: Sep 2003 Location: Los Angeles, CA Posts: 121	Those had to be standard speeds (max aperature of f2, T2.1). They vignette noticeably on 16:9 cameras up through the 32mm, barely on the 40mm and not at all on the 50mm up. However, with T1.3 Super Speeds you're fine with the 18mm on up. We also have an Optar 14mm that doesn't vignette at all, and there are some options for wider angle lenses than that that won't vignette. __________________ http://www.IndieRentals.com RED Rentals, Camera, Grip, Lighting, Sound, Post and More. http://www.madmojo.com Production blog.

September 18th, 2006, 08:42 PM	#9
Craig Chartier DVi Contributor Join Date: Mar 2006 Location: Austin Texas Posts: 374	I'm still interested in wheather still lenes, such as NIKON or CONTAX primes also have this problem. If yor shooting with the mini, you probably can't afford to rent fast fresh hot off the line primes.

September 18th, 2006, 10:51 PM	#10
Eric MacIver Regular Crew Join Date: Sep 2003 Location: Los Angeles, CA Posts: 121	Generally, good still camera lenses will look good, with edge-to-edge sharpness because they're built to handle a larger film plane than 35mm motion film cameras. However, where they lack superiority is in rack focusing, zoom, matched lens "feel" and common front element sizes. It's also difficult to find certain focal lengths in still lenses that are as fast as film lenses. That being said, they are a viable option for saving funds. __________________ http://www.IndieRentals.com RED Rentals, Camera, Grip, Lighting, Sound, Post and More. http://www.madmojo.com Production blog.

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