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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

New Zeiss Compact Primes Revised

Michael,

yes of course but I wanted to have it wide open a good performance from that prime lens and

I'm still happy that my Nikkor 17-35mm f/2.8 gives me pretty nice quality at faster wide open @ f/2.8 then much better @ f/4 than Zeiss 18mm ZM f/4 and also stopped down.
 
Sanjin Jukic said:
Michael,

yes of course but I wanted to have it wide open a good performance from that prime lens and

I'm still happy that my Nikkor 17-35mm f/2.8 gives me pretty nice quality at faster wide open @ f/2.8 then much better @ f/4 than Zeiss 18mm ZM f/4 and also stopped down.
Click to expand...

True.
 
Sanjin
the 50 1.4 is not even included in the set.
I am sure you still get much better performance out of 50 1.4 at 2.8 then your nikkor zoom ...
I shot tones of stuff using the entire range of ZF lenses. They are excellent glass, and I would only imagine the cine version shall be in some ways better.
 
Albert,

I can get an outstandingly excellent performance with my old Canon 50mm L FD f/1.2 stepped down @ f/1.4.

This lens is based on the first ever made aspherical design for still lenses that is still better than at any of the present Canon EF 50mm series.
 
Julio Quintana said:
A four lens set for $14,500? I thought they were supposed to be significantly cheaper than the RED Primes. Is my math wrong or aren't they basically the same price?
Click to expand...

I haven't looked at the new pricing. But I was told they were just under $19K for the complete 7-lens set. Very intriguing, that's for sure... Nice to see the common aperture, that 18mm T3.5 was a deal-breaker on the previous set.
 
Jeff Kilgroe said:
I haven't looked at the new pricing. But I was told they were just under $19K for the complete 7-lens set. Very intriguing, that's for sure... Nice to see the common aperture, that 18mm T3.5 was a deal-breaker on the previous set.
Click to expand...


i believe that the 18 mm is a 3.6 in this new set, and they slowed the 85 and 50 mm to a 2.1 for their "matched aperture" granted it's probably gonna be razor sharp wide open now, but the 18 mm is still as deal breaker as it was before, and i'm still really peeved they would sacrifice the speed of certain lenses just to lower the price of the set and claim "matched apertures"
 
Jeff Kilgroe said:
I haven't looked at the new pricing. But I was told they were just under $19K for the complete 7-lens set. Very intriguing, that's for sure... Nice to see the common aperture, that 18mm T3.5 was a deal-breaker on the previous set.
Click to expand...

Jeff
Common aperture is a bogushy statement. 18mm is still the same slooow 18.
Guess the set start at 21mm
 
The best 18mm FF35 lens is of course Leica

The best 18mm FF35 lens is of course Leica

The best 18mm FF35 lens is of course Leica:

Super-Elmar-M-18mm-front.jpg

Leica Super-Elmar-M 18mm f3.8 ASPH.

"The SEM 18 is a true workhorse lens, it lacks the glamorous attributes of a Noctilux or the historical pedigree of the Summicron 50mm.
It is also one of the very few lenses without flaws and can be truly referred to as a masterpiece of design.
It's slender dimensions belie its performance.

The 18mm focal length has one intriguing characteristic. The horizontal angle is exactly 90 degrees and can cover a space with geometric precision.
For this wide angle to be useful three demands must be met: good definition, very low distortion and absence of vignetting.
The last requirement is less demanding in this age of post-processing software, but for photographers who value film and/or do not want to get bogged
down in computer manipulations, it is still a valuable parameter."

Read more >>>
 
RPPs still appear to be the kings of this market segment in terms of price/performance. IF you are seriously committed to FF35 shooting and find the size/weight of the RPPs an issue then the Zeiss CP2s make more sense. In my world, S35 sensor size has several advantages including less blown takes due to buzzed focus and more lens options. YMMV.

BTW, by sticking to S35 format and using plenty of glass my 18mm RPP offers me T1.9 speed with a consistent aperture to the full set. That's value in my book.

Cheers - #19
 
Blair S. Paulsen said:
RPPs still appear to be the kings of this market segment in terms of price/performance. IF you are seriously committed to FF35 shooting and find the size/weight of the RPPs an issue then the Zeiss CP2s make more sense. In my world, S35 sensor size has several advantages including less blown takes due to buzzed focus and more lens options. YMMV.

BTW, by sticking to S35 format and using plenty of glass my 18mm RPP offers me T1.9 speed with a consistent aperture to the full set. That's value in my book.

Cheers - #19
Click to expand...

Blair maybe you are right in a one way but I saw here at the forum very "problematic" flare aberrations with RPP 18mm and also lost of enough sharpness at wide open (T1.9) in 4K, etc...

It's better to have a perfect FF35mm lens at the staring point of its aperture even if it's too slow (f/3.8) than optically "forced" speed of S35mm lens

that you can mostly find at the latest contemporary S35mm sets.

If I have to shoot with minimal light or available light scene I'll use super fast 50mm lens @ f/1.2, 35mm @ f/1.4, 24mm f/1.4 or 21mm f/1.4 (all with still glass Canon, Nikon or Leica) and move back to find a proper wider angle.
 
Within the price/performance envelope we are discussing, and assuming that having a matched set with PL mount and cinema mechanics matters to you I stand by my assertion. There are many ways to get 'er done with a wide variety of advantages and disadvantages depending on shooting situation and how quickly mount changes can be accomplished. In my world, PL mount lenses with legitimate cinema level characteristics in terms of mechanics, ramping, breathing, etc limit what I consider viable options. Since the Zeiss CP2s and RED RPPs both seem to be aiming a price point in the neighborhood of $20,000 for a 6 lens set designed to fit into existing shooting styles and aks standards I compared them.

Cheers - #19
 
Blair S. Paulsen said:
Since the Zeiss CP2s and RED RPPs both seem to be aiming a price point in the neighborhood of $20,000 for a 6 lens set designed to fit into existing shooting styles and aks standards I compared them...
Click to expand...

Yes..do the math..the price point for either is almost identical comes out
around $3,800 a lens. Performance wise Red has definite edge.
But Zeiss has small form/light weight and full FF35 coverage.

Seems like Zeiss took advantage of the expanded cinema market and
just transformed their still lens with a new barrel and additional lens
elements to soften backgrounds so that no hexagon shapes appear
in background distance. But the glass and lens design as I've been told
is the same as the still photo version. But the still version is alot less $$$
Strangely the compact prime is priced almost exactly the same as RPP...
hmmm....just a coincidence I guess.

Other than the FF35 electronic zooms announced way back Red has been
quiet on FF35 glass subject. Another factor is how able the touchscreen
focus system will prove to be for shooting actors.
 
albert rudnicki said:
Jeff
Common aperture is a bogushy statement. 18mm is still the same slooow 18.
Guess the set start at 21mm
Click to expand...

I think you mean the matched-aperture set starts at 28mm...

According to specs, 18mm is T3.6, 21mm is T2.9, and 25mm is T2.9.

So the matched T2.1 aperture range includes 28mm, 35mm, 50mm, & 85mm.

I'll admit that I don't know very much about lens design, but a quick look on B&H showed that Leica makes a lens as wide as 21mm and as fast as f/1.4 (though I don't know if this is possible due to the mechanics involved between different flange focal distances). Still, Nikkor had a 35mm f/1.4. Certainly achieving a T2.1 is possible for something wider than 28mm in FF35, no?
 
Fast 24mm FF35mm range

Fast 24mm FF35mm range

Brand new Nikon 24mm f/1.4.

Brand new Leica M 24mm Summilux f/1.4 (the best from all of them mentioned here).

Old Canon FD 24mm L f/1.4 and newer Canon EF 24mm L f/1.4.
 
I think the market for these will be renting to RED + 5d shoots which I am starting to see cropping up more than often. One set of lenses both your cameras. Or RED+Nikon D3s or D3s+5d etc etc. I think its paying for the privileged of the flexible mount.
 
Jay Gannon said:
I think the market for these will be renting to RED + 5d shoots which I am starting to see cropping up more than often. One set of lenses both your cameras. Or RED+Nikon D3s or D3s+5d etc etc. I think its paying for the privileged of the flexible mount.
Click to expand...

Agreed, I think that they'll sell a lot of these to 5d users who are using them on motion shoots.The switchable mount expands the rental base of these lenses for sure.
 
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