New Arri / Carl Zeiss Lense News for 6k - 8k Coverage

[Opeyemi Ilesanmi]

Since new Dragon sensor is all about 6k resolution and the future for red will be 8k s65, should we all be surprise to say Zeiss are not working on lenses for the future.
My knowledge is that master prime and ultra prime only covers 4k "correct me if im wrong".
I called their office in london and they won't accept or deny new development.
Would they surprise us in Nab 2013
What do you know about new generation of Zeiss lenses or other manufactures in general.

 

[Pawel Achtel]

Yes, you are indeed incorrect: Master Primes do cover 5k on Epic Sensor.

How do you know that the future for RED will be 8k S65 sensor? There has been no mention of 8k sensor from RED as far as I know. If you have source of the information, please point to it because I can't find it.

Otherwise, why would you seek to create lenses for something that does not and, in all probability, will not exist?

 

[Matt Ryan]

K's have nothing to do with sensor size. Cinema lenses are designed to cover s35, the motion picture standard. The F65 although an "8K" sensor is a S35 sensor whereas Red Epic MX is 5K in APS-H size (larger than S35). Any manufacturer who claims their lenses resolve a certain K doesn't really understand what that means (K's are not a physical size). Full Frame lenses are what you will need if the sensor continues to grow beyond the standard S35 sensor size. It would be more beneficial if camera manufacturers could squeeze more K's into a S35 frame rather than making a larger sensor to accomodate the resolution increase.

Zeiss already rehouses their stills lenses that cover full frame (CP.2's). The cost of quality FF lenses similar to Master Primes would be astronomical in price. If you want great cinema lenses that cover Dragon then your best option are the Leica Summilux-C. They are the only s35 cinema lenses that covered from the 18mm up.

 

[Opeyemi Ilesanmi]

ok ok

 

[Ryan Patrick O'Hara]

Cooke mini s4's are made to cover 33.51 from 18-135, and that is not counting the unintentional spill of the image circle. If you don't mind a t/2.8 stop, the quality to price ratio is as good as you can get before taking the dive into ultras, s4's, 5/i's , masters and summilux's.

So with dragon rumored to be 34mm diagonal, I'd say there is a good chance Cooke mini-s4's will cover from 18mm and up. The advertised image circle is just shy, in my mind leaving the tiny remainder likely to be covered. Just saying, that's a professional cinema lens set above cp'2 and below summilux that will likely be just fine.

 

[Clayton Burkhart]

They are working on new lenses. (Zeiss) Which will have much greater resolving power. Sharp wide open and across the whole field. FF capable. They will be for both photo and video and high resolution sensors. They have already announced the 55mm f1.4 at Photokina 2012. There are any number of videos on the net right now about this. NAB 2013 will surely reveal more.

 

[Ryan Patrick O'Hara]

They are working on new lenses. (Zeiss) Which will have much greater resolving power. Sharp wide open and across the whole field. FF capable. They will be for both photo and video and high resolution sensors. They have already announced the 55mm f1.4 at Photokina 2012. There are any number of videos on the net right now about this. NAB 2013 will surely reveal more.

I've heard about these lenses. I thought they were just for photography. Have never heard anything about video. That doesn't mean people can't use them as they do with photography lenses on video cameras now, but I think it is an assumption that they're making them both for video and photography.

Zeiss, Cooke, and a bunch of other companies I'm sure ,in the future, will be releasing lenses that will appeal and satisfy whatever modern sensors are out there, so I assume we will see these in the future. So it's safe to say, I'm sure Every lens manufacturer is currently working on new lenses. It would be a failure to innovation if they did not

 

[Nick Morrison]

I've heard about these lenses. I thought they were just for photography. Have never heard anything about video. That doesn't mean people can't use them as they do with photography lenses on video cameras now, but I think it is an assumption that they're making them both for video and photography.

These new lenses are so expensive and their build so good and "cine friendly" its presumed by many that these lenses will be dual purpose for stills and cine. The price tags warrant it.

 

[Ryan Patrick O'Hara]

I get it. But if you really examine the fundamental differences of what a photographer wants and what a cinematographer wants (for cinema use), you'll find having both the ideal photography lens and the ideal cinematography lens in the same lens is almost an impossibility. They will surely be able to make a nice decent manual lens that would appease both photographers and some videographers. But if they think that they're going to make what is considered a true cinema lens and a true photography lens, they're very mistaken. Somebody in the equation is going to have to compromise. Whether it be the photographer or whether it be the cinematographer. There is a reason the physical and mechanical builds of photography lenses and cinema lenses differ today. The photographer and cinematographer have different needs and those needs are addressed in the way the lenses are designed. As I've mentioned, this new design could be a nice middle hybrid ground that could satisfy some photographers and some videographers, but they will never satisfy everybody in either camp. Their needs are just too different.

 

[Nick Morrison]

I get it. But if you really examine the fundamental differences of what a photographer wants and what a cinematographer wants (for cinema use), you'll find having both the ideal photography lens and the ideal cinematography lens in the same lens is almost an impossibility. They will surely be able to make a nice decent manual lens that would appease both photographers and some videographers. But if they think that they're going to make what is considered a true cinema lens and a true photography lens, they're very mistaken. Somebody in the equation is going to have to compromise. Whether it be the photographer or whether it be the cinematographer. There is a reason the physical and mechanical builds of photography lenses and cinema lenses differ today. The photographer and cinematographer have different needs and those needs are addressed in the way the lenses are designed. As I've mentioned, this new design could be a nice middle hybrid ground that could satisfy some photographers and some videographers, but they will never satisfy everybody in either camp. Their needs are just too different.

True. I won't dissagree with you. But I think they are probably targeting the tier of cinematography that made their ZE/ZF and CP2's so wildly successful. I won't argue that for narrative work...where focus marks, etc... are crucial true cine lenses are a must. But for the bread and butter jobs like interviews and broll where this isn't a factor, these hybrid lenses (much like the ZF/ZE/CP's before them) will probably KILL.

 

[Ryan Patrick O'Hara]

I agree. Many jobs in videography are between the needs of photography and cinema lenses, so there is a new market. This Newmarket I think is very big and expanding however I feel like many photographers and bigger cinematographers will reject these lenses ( because they compromise on their needs in one way or another) so it's a very very fine line of how you market them. But I do agree that there is def a market for these lenses. I am on a few jobs, now and again, that are not your typical cinema narrative work, and I find that manual photography lenses are sometimes more appropriate to use (over true cine primes or cine zooms) for a number of reasons, yet don't offer all the tools or features needed to be completely right for the job.