In the market for RPP or superspeeds, i have a ?

[Nick Morrison]

So ive been looking at the Zeiss cp2 superspeeds. They are looking pretty awesome. Im now kind of torn. The zeiss are fast and have interchangeable mounts and cover full frame and dont have outrageous flaring like the RPP. what would be the best reason to go RPP over the new superspeed cp2?

The RPP have the same T-Stop across all the line. They are bit faster than T2 I believe. Whereas the CP2 Superspeeds yes are 1.4 at 35, 50, and 85. But once you get wider they get slower (these are full frame designs remember, and the larger image circle is much harder to make faster wide angles). The CP2 28 and 25 are F2, the 21 is a 2.8, and the 18 - GULP! - is a 3.5

Whereas the RPP's are a constant T stop across ALL THE LENSES, which is huge.

That being said, be advised these are all very modern, clean lenses. I know you are shooting on Contax Glass right now. Neither of these will have that lower-con, flaring look. If you want that more textured look, then older glass like Standard Primes, Super Speeds, or even K35's are more likely to give that type of rendition on the MX sensor.

Just my 2 cents.

 

[Domenic Barbero]

you know i might just entertain the idea of some canon k35 lenses also. The cp2 15mm is a t2.9 i believe. This is seriously a pain in my ass. lol

 

[Nick Morrison]

you know i might just entertain the idea of some canon k35 lenses also. The cp2 15mm is a t2.9 i believe. This is seriously a pain in my ass. lol

Oh yeah good point about the 15mm CP2, forgot that one. The K35's look awesome. A poor man's superspeeds. Or you can just keep your Contax and add a Standard Speed 16mm T2 (haha, that's what I did). I'm going to throw all my glass on the All Star Mount. My main glass is now:

16mm T2 - Stanard Prime
28mm F2 Contax
35mm 1.4 Contax
50mm 1.4 Contax (X THREE)
50mm 1.7 Contax
60mm 2.8 MACRO Contax
85mm 1.4 Contax (x TWO)
85mm 2.8 Contax
135mm F2 Contax
135mm 2.8 (x TWO)
180mm 2.8
300mm F4
500mm f8 Yashica.

So I'm F2 between 16mm and 135mm. It all has pretty much Super Speed era Zeiss coatings. And I'm muticam at 50mm, 85mm, and 135mm (my favorite focal lenght).

And I'm not even a DP. I'm a director, but these questions drive me insane too, so I totally relate.

So absolutely, yes...choosing your lenses can absolutely drive you nutes. And as DPs, I can see why cinema mechanics are much more important than say for me. I like arriving on set with tones of lenses, so IN CASE we need a Peleng 8mm, I GOT ONE on me (for ex). I like being the backup.

But you guys...you guys need reliability...and that's where...even with Duclos's magic...I can see the need for total PL glass. I hear you.

best of luck Domenic.

 

[Domenic Barbero]

Its really about being able to pull focus on set. AC's give me the stink eye when the see they have to pull on still lenses. Though nobody has been disappointed with the look. I just need something beautiful, that works, and is fast and has some good reliable footage markings. I like the rarity of the older k35's. u may have swayed me into a totally new direction. There is a 24 1.6. i may then just get something like a 14mm superspeed and have a full set. god who knows. thanks for the help though.

 

[Clint Lealos]

There is also an 18mm T1.5 in the K35 line-up. Optex and others converted the Canon FD 14mm 2.8 to a PL mount as well. All beautiful glass

 

[Nick Morrison]

There is also an 18mm T1.5 in the K35 line-up. Optex and others converted the Canon FD 14mm 2.8 to a PL mount as well. All beautiful glass

There's two 18's in the K35 lineup right? A 1.5 and a 2.8 (or something close to) correct? I know I've seen a slower 18, but I'd love to get a solid bead on this. Help me get my facts straight!

 

[Clint Lealos]

Yep, there is a slower 18mm 2.8 in the K35 line-up, but I've never seen one in person. Not sure how it compares to the rest of the lenses in the set, or why there is 2 different 18mm... seems odd for sure.