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Author Topic: Qestion: What are the best projection lenses, the TOP in Razor Focus ? David Kilderry Master Film Handler Posts: 355 From: Melbourne Australia Registered: Sep 1999 posted 02-24-2011 02:18 AM                        I like both Isco and Schneider and their various models. In the real world both will give high quality images especially compared to other brands and older lenses. Oh and Ron, drop the Firebird back to a '73 and you get a 455. Better still, go back to a '71 Mopar and get a Hemi!  |  IP: Logged Martin Daian Expert Film Handler Posts: 227 From: Montevideo, Uruguay Registered: Jul 2003 posted 02-24-2011 04:20 PM                    Hi David, Thanks for your opinion, Martin  |  IP: Logged System Notices Forum Watchdog / Soup Nazi Posts: 215 Registered: Apr 2004 posted 10-28-2012 01:53 PM                 It has been 611 days since the last post.  |  IP: Logged Rob J. Buskop Expert Film Handler Posts: 111 From: Rotterdam, the Netherlands Registered: Aug 2005 posted 10-28-2012 01:53 PM                     I have a question for Steve! Steve, when you compared the Isco HD plus red lens with the Cinelux Premiere, you did'nt mention the the f value (if any)you applied to the Isco lens. Was it the standard f1.8, or rather set to f2.1 or even 2.7 with the diafragm adapters that are supplied with these lenses? Should make a lot of difference in depth of focus and detail..... Your comments will be enlightening!  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 10-28-2012 07:43 PM                     I compared same to same. That is, the ISCO red was set to f/2.1 (standard unless you REMOVE the default ring) and the Schneider was set to f/2.1 via the iris. The Schneider only had the same light when the iris was full-open but the focus became notably worse. If the Schneider was set very high, it created a bit of a black-hole in the light.  |  IP: Logged Simon Wyss Film Handler Posts: 80 From: Basel, BS, Switzerland Registered: Apr 2011 posted 10-30-2012 10:51 AM                     Hey, Martin You can have a very sharp picture with a four-element lens such as the Petzval type. Depends on two factors. One, illuminating optics: long focal length mirror of arc lamp. Two, absolute size of the lens: only a central section of the elements used. That way they had stunning pictures in the silent era. If you stick to Xenon arc lamps, the according relatively short focal length mirrors, and too big a screen you are forced to employ a modern lens. Remember: mirror relative aperture 1:3 goes well with lens relative aperture 1:2. The closer one gets to a lens aperture with mirror aperture the heavier lens flare problems become. Of course do lens manufacturers everything to suppress internal stray light but it is not necessary. 150 mm is very comfortable as focal length, so you may experiment with an old fashioned system, even with a non-treated. I had a beautiful picture from Ideal format slides (cutout 56 x 72 mm) with an Isco triplet, f = 300 mm, and high-intensity carbon arc light. Per un pugno di dollari. At f = 75 mm, standard sound aperture, a more complex lens is indicated. Again, the slim light hose of a 10" or 12" carbon arc mirror of 30" to 36" focal length outperforms Xenon lamp geometry. The old movies’ glamour has to do with this. Xenon lamps lack the short waves which are characteristic of the old-fashioned arc.  |  IP: Logged Rob J. Buskop Expert Film Handler Posts: 111 From: Rotterdam, the Netherlands Registered: Aug 2005 posted 10-31-2012 05:00 PM                     Thanks Steve, for your latest update. Greatly appreciated!  |  IP: Logged Rob J. Buskop Expert Film Handler Posts: 111 From: Rotterdam, the Netherlands Registered: Aug 2005 posted 02-04-2013 04:11 PM                     Has any of you made a careful quality comparison between the Schneider Cinelux Premiere and the Schneider Super Cinelux? (Assuming the Premiere was set at around f/2 as the fixed f Schneider SC.) Would like to hear your opinion. One thing I personally noticed, is that the color temperature on the Premiere lens is a bit warmer than the Schneider SC. Very pleasant actually. But why would you prefer the one above the other in real terms?  |  IP: Logged Victor Liorentas Jedi Master Film Handler Posts: 800 From: london ontario canada Registered: May 2009 posted 07-10-2013 07:01 PM                     Is it very difficult to adjust the iris on a Red Isco HD Plus lens? I just bought a 70mm one for flat very cheap! I find the picture looks warmer than the Isco HD...looks a tad brighter and sharper in the middle but the far sides want to be closer to the film which then throws the middle out? Only run a beat up RP40 so far though.  |  IP: Logged Tony Bandiera Jr Film God Posts: 3067 From: Moreland Idaho Registered: Apr 2004 posted 07-11-2013 12:38 PM                     quote: Victor Liorentas .....Only run a beat up RP40 so far though. Then candidly your test is totally meaningless. Anytime you are trying to judge the ultimate quality of a lens (or for sound, the "A" chain) in film, your test loops MUST be pristine or the results will be skewed. I got caught up with a bad CAT 69P loop that had me mis-setting "A" chains before I figured out it was bad. (It had several linear very fine scratches causing the HF to be distorted..wasn't audible really but it DID make a big difference in slit-loss settings.) I now (then since I haven't had an "A" chain to do in the last two years) inspect all my loops carefully and replace any that are even slightly suspect. Didn't I send you some fresh RP-40 a few years back? I might have more if you need some.  |  IP: Logged Victor Liorentas Jedi Master Film Handler Posts: 800 From: london ontario canada Registered: May 2009 posted 07-11-2013 12:54 PM                     Tony you offered to send some but never did. The beat up test films that I have, still get me in the ball park of whats going on as proven by good regular movies that show the same quality of focus as the test film. I ball park it with the test film and then test with a reel of whatever plus like new trailers. I study what I see and make adjustments based on my observations. It's harder now because I have to do all of this after hours.Our days open to the public are almost all digital. I only just got the red HD Plus and noticed the sides were softer than the gold Isco HD. It's one year since I installed the newer PR 1014 head and I still don't have pictures as sharp scope and flat as the old xl head was!  |  IP: Logged Victor Liorentas Jedi Master Film Handler Posts: 800 From: london ontario canada Registered: May 2009 posted 03-27-2014 07:06 PM                     It should be mentioned that the extra 6th element of glass will eat some light on the Blue Star. I can see this looking through it and comparing with an Ultrastar.  |  IP: Logged Laurence Hammett Film Handler Posts: 16 From: Los Angeles, CA, USA Registered: Feb 2002 posted 04-08-2014 02:37 PM                     A couple of things. The folks at Universal Cinema Service before they bit the big one recently RIP tested both ISCO and Schneider lenses of various focal lengths against each other. They found that for some focal lengths that ISCO was better and for others Schneider was better. Secondly resolution isnt ONLY about the lenses. I had a client who did installs with new Strong consoles and Red ISCO's but the studios when doing screenings were bitching about resolution. The chains theatre tech wanted to get better lenses but after pointing out that he already had great lenses I convinced him to let me put in a Technalight Lamp mirror upgrade kit. and I dropped the size of the bulb from 4500 to 3K. t is the first and ONLY time i actually saw someones jaw drop. These kits not only give MUCH brighter and Much more even pictures they also bump up the resolution big time because of the way light operates and to understand why you need to know how printing technology works. On a printer the more dots per inch the sharper the resolution. Light is composed of Photons and the more photons going through the plane of the film, the sharper the resolution and Technalight accomplishes this with Glass reflectors and glass reflects more photons than metal and these reflectors take years and years to degrade compared too metal ones that can lose 20-30% of their reflectivity the first year.I have done over 40 of these and they became the reason you could go to a drive in an actually see the picture. Even an helped with an original IMAX screen with 35MM. These upgrade kits are still available for most lamphouses.  |  IP: Logged Victor Liorentas Jedi Master Film Handler Posts: 800 From: london ontario canada Registered: May 2009 posted 04-08-2014 02:46 PM                     I actually have a Technalight setup in storage! The two screen drive-in I worked at looked amazing with the Technalight upgrade!  |  IP: Logged

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