LENSES  length

20-100 T3.1 constant

Lomo Anamorphic

35, 50 & 75mm T2.5


25-250mm T3.9


 80-200mm T3
(recarossage PL Allstar)
(not vintage) 
11-16mm T2.8
(rebodied Duclos)


These tests have revealed that all the scope formats with the RED Epic don’t have the same aspect ratio.


The 5K WideScreen has an aspect ratio of 1:2.37

The 5K 1.22 2xAna has an aspect ratio of 1:2.44

The 4K WideScreen has an aspect ratio of 1:2.39


This last one is the only one that matches the Scope DCI format (2048 x 858). The shots not corresponding to this format have been reframed to fill the 1:2.39 aspect ratio and then put into a 16:9 sequence with black shutters. The cropped part of the image is very small.

Vintage Lenses

Cinematographer Blaise Villars gives a comparative study of our most beautiful lenses (well some of them, because our Zeiss series was not available on that day).



Everything was shot in scope 5K WideScreen format except for the Lomos, shot in 5K 1.22 2 x Anamorphic, and the Angenieux that doesn’t cover 5K and so was shot in 4K WS.

All the shots had an aperture between T4-5.6, on the wide shots, the camera is at a distance of 27m from the subject. The colour-grading settings are identical in order to see the difference of chromatic renders.

There is a shot made with a Schneider/Century doubler on the Angenieux, which caused the soft FX aspect of the image.