Vincent Laforet Tests RED's Canon Mount with a $10K Lens | No Film School

In response to the trailer for Like Crazy -- the DSLR-shot indie feature that sold for $4 million at Sundance -- some commenters asked about the merits of PL-mount lenses vs. Canon lenses. Traditionally, motion picture PL lenses are many times more expensive than Canon glass and offer better tactile, manual controls. But in the digital age, some of Canon's features are suddenly handy, and RED recognizes this.

RED's EPIC camera, which runs $30,000 (body only), comes with a PL mount by default. But they're working on a Canon mount to allow photographers who are already invested in serious Canon glass to put their lenses to work, and Vincent Laforet got his hands on a beta version. This isn't a "dumb" mount -- not only does it have electronic contacts for autofocus, image stabilization, and aperture control, it also offers touch-to-focus, auto rack-between-marks, and distance readouts right on the RED monitor. Here's the video he shot with the yet-to-be-released Canon mount, using a $9,500 Canon 600mm f4 EF Lens attached to a 2X teleconverter. As you can see in the thumbnail above, this is with a seriously long lens:

Link: One Degree: A Canon 600mm w 2X Extender on the RED Epic

red vincentlaforet canon lenses redepic plmount

28 Years Later iPhone

Why Did Danny Boyle Shoot ‘28 Years Later’ on an iPhone 15?

Here’s everything we know about the reports of the new ‘28 Years Later’ thriller being shot on an iPhone 15.

Move over, Sean Baker and Steven Soderbergh—Danny Boyle is the latest director to make the bold choice to shoot his latest feature film on an iPhone. Why, you ask? Partly, perhaps, because the team knows it will get them some nice headlines like this one. And partly just because they can.

Whether you love or hate the idea of shooting professional video on iPhones, it’s hard to argue that these latest smartphones aren’t capable of high-end video.

The iPhone 15, which is what Boyle and his team reportedly used for the long-awaited follow-up to the original 28 Days Later in 2002 and its 2007 sequel 28 Weeks Later, in particular, has proven to be a major step forward for Apple and was very much promoted as a filmmaking-capable camera.

Still, as is always the case with these smartphone-shot feature films, there’s more to the story than just the headline here. So let’s explore how Danny Boyle and his team were able to shoot 28 Years Later on an iPhone.

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