The Ultimate Lens Guide For Red Camera Systems

When it comes to lenses for RED cameras, there are a variety of options available depending on the specific camera model and the desired features. For instance, the RED KOMODO 6K digital cinema camera is compatible with a range of cine lenses, including those from Irix and Red Komodo. These lenses offer features such as weather-sealing, full-frame coverage, and compatibility with various mounts like Canon EF and Arri PL. Additionally, there are anamorphic and spherical lenses that can be used with RED cameras, each offering distinct advantages in terms of aspect ratio, image projection, and depth of field.

Lenses designed by Hyperion Development and built by UniQoptics

The lenses designed by Hyperion Development and built by UniQoptics are known for their superior optical performance and durability. These lenses are designed to be used with RED cameras, which are popular in professional film productions. The lenses offer exceptional image quality and are designed to meet the demanding requirements of cinema lens manufacturing.

The lenses feature advanced fabrication technology and skilled technicians, showcasing Hyperion's expertise in the field. The company also has advanced measurement equipment to ensure precise quality control during the production process. This attention to detail results in lenses that deliver consistent and exceptional performance.

Hyperion Development's custom optical design service is another notable aspect. They work closely with clients to understand their specific needs and requirements, offering bespoke solutions tailored to their applications. This level of customisation ensures that cinematographers can achieve their desired visual effects and capture stunning visuals for their productions.

The lenses designed by Hyperion Development and built by UniQoptics have left a lasting impact on the film industry. Their optical performance, durability, and customisability have made them a popular choice for cinematographers seeking to elevate their craft.

Irix Cine lenses for the Red Komodo 6K

The Irix Cine lens range is a perfect match for the Red Komodo 6K camera, providing exceptional results in all kinds of situations. These lenses are designed for cinematic purposes and are compatible with both the RED KOMODO and Canon RF mount.

Irix Cine lenses are top-quality cinema lenses that offer filmmakers and video producers superior image quality and precise control over focus and depth of field. They are specifically designed for motion picture production, featuring calibrated focus and iris rings, consistent T-stop ratings, and a wide range of focal lengths.

The Irix Cine 15mm T2.6 lens, for example, is a fast, ultra-wide-angle lens designed for a variety of lighting conditions. It offers a unique focal length, superb image resolution, and full-frame 43.3mm coverage. The lens is fully weather-sealed and features engraved markings with UV-reactive paint for low-light situations. It also has nine rounded aperture blades for extraordinary image quality and focus breathing close to zero.

The Irix 15mm T2.6 is just one of the many Irix Cine lenses compatible with the Red Komodo 6K. Other options include the 11mm T4.3, 21mm, 30mm, 45mm, 65mm, and 150mm lenses, all of which provide exceptional image quality and performance.

Irix Cine lenses are known for their durable construction, high-quality optics, and robust build. They are built to withstand heavy use and are backed by a 10-year warranty, making them a reliable choice for any filmmaker or cinematographer.

Anamorphic lenses

There are two classes of lenses typically used in production: spherical and anamorphic. Spherical lenses are the most common and are the assumed lens type unless otherwise specified. They project images onto the sensor without affecting their aspect ratio. Anamorphic lenses, on the other hand, project a version of the image that is compressed along the longer dimension (usually by a factor of two). This compression requires subsequent stretching in post-production or at the projector for proper display.

However, the advent of the "Super 35" format reduced the difference between spherical and anamorphic lenses, as Super 35 provides more horizontal film area by not recording audio next to each frame. Anamorphic lenses still offer better utilisation of film area, especially with 2.39:1 aspect ratios.

When used with digital sensors, anamorphic lenses typically serve a different purpose. Most digital sensors have a higher aspect ratio than 35mm film, so spherical lenses often record sufficiently wide images with minimal cropping. Using an anamorphic lens in these cases often produces an unnecessarily high aspect ratio, resulting in unused space on the sides of the image and reduced horizontal resolution.

The main reason to use anamorphic lenses with digital sensors is for their unique effects. Lens flare and out-of-focus backgrounds ("bokeh") will appear elongated, and flare may also appear as bluish horizontal or vertical streaks spanning the entire frame. Vignetting may take on an oval shape, although this can be emulated in post-production.

Depth of field is also affected by anamorphic lenses. Although technically the same as spherical lenses, in practice, you must use a longer focal length with anamorphic lenses to achieve the same angle of view. This results in a shallower, more cinematic depth of field.

The design of anamorphic lenses has some implications. Many anamorphic lenses are ordinary spherical lenses with additional glass elements that compress the output. This makes the lens larger, reduces light transmission, and can introduce distortion. Anamorphic lenses are typically more expensive and heavier than spherical lenses due to their added complexity and larger glass elements.

The type of anamorphic lens can also be a factor. The "front-mounted" type, where the aspect ratio compression is done by a front lens element, produces the characteristic anamorphic look. "Rear-mounted" anamorphic lenses are less identifiable and are typically used when utilising more film area is a primary goal.

Some recommended anamorphic cine prime lenses for the Red Monstro 8K camera include the Cooke Anamorphic/i Full Frame Plus Standard, P+S Technik TECHNOVISION Classic, and Servicevision Scorpiolens ANAMORPHIC.

Spherical lenses

Another advantage of spherical lenses is their ease of use. They are more common and have a simpler design, making them more affordable and lighter than anamorphic lenses. They also provide a wider range of compatible focal lengths, T-stops, quality, and cost options due to their prevalence. Additionally, spherical lenses are often sharper, especially when using ultra-wide angles, as anamorphic lenses may have extra glass elements that can cause distortion.

However, spherical lenses have some limitations. They may not be as effective as anamorphic lenses when a higher aspect ratio is required. In such cases, cropping the image vertically may preserve more pixels than using a spherical lens. Additionally, spherical lenses may not produce the unique visual effects associated with anamorphic lenses, such as elongated lens flare and bokeh.

Canon RF lenses

RF lenses are designed for full-frame cameras, but can be used on APS-C bodies. Conversely, RF-S lenses are designed for APS-C cameras but can be used on full-frame bodies with a cropped sensor mode.

Third-party manufacturers such as Sigma and Tamron also produce RF-mount lenses, although currently only manual focus options are available.

Frequently asked questions