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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 :)

Canon Cinema Prime VS Zeiss CP.2 Super Speed

i am completely on wide angles :) but this question always makes me curious
if Arri 12mm 1.2F (MP) is possible why the heck Zeiss produces 15mm 2.8 for photographers? they worship to Zeiss 100mm F2 told my friend Master Prime 100mm is 1.2 he was like WTF you are so funny :D he didnt believe until he saw on arri's webpage
 
Sebastian Wiegärtner said:
1.2 is great, but do you really need it? of course it's nice to have, but the image quality full wide open is mostly not perfect. a fast lens is nice for some shots, but for 95% i'm using f2.8 - f8! i have an huge set of zeiss cp.2's, including the new 15mm (which is superb - nearly no distortion!!!), 21, the three super speeds (35, 50, 85), 100 macro. am also using the zf.2s from zeiss, which have the same optical design of the cp.2's, but without cinema housing, less iris blades etc...
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Do I need 1.2? You might as well ask if I need anything below 3.5. Yes! I use 1.2/1.4/1.8/2.0 It would be ideal if they were awesome sharp, but as long as it is sharp from 2 on up, the 1.2 could be used for aesthetic effects, and the 1.4-1.8 could be used for that extra oomph when light is starved.

I can understand people not using anything below T2.1, but I do not understand wanting that to be the limit, when the lens could be pushed further, albeit with image degradation.
 
James Sielaff said:
Do I need 1.2? You might as well ask if I need anything below 3.5. Yes! I use 1.2/1.4/1.8/2.0 It would be ideal if they were awesome sharp, but as long as it is sharp from 2 on up, the 1.2 could be used for aesthetic effects, and the 1.4-1.8 could be used for that extra oomph when light is starved.

I can understand people not using anything below T2.1, but I do not understand wanting that to be the limit, when the lens could be pushed further, albeit with image degradation.
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its a fashion in Turkey :) Every DP (even noobs) wants to shoot with Master Primes,production company rents them and they wont go down under T 5.0 lol
few months ago we had a job, DP wanted to shoot with MP and told him we had only RPP he was like WTF i want MP not RPP.in the end they got RPPs and DP wasnt happy because lenses were too much sharp for him.
 
Kemalettin Sert said:
its a fashion in Turkey :) Every DP (even noobs) wants to shoot with Master Primes,production company rents them and they wont go down under T 5.0 lol
few months ago we had a job, DP wanted to shoot with MP and told him we had only RPP he was like WTF i want MP not RPP.in the end they got RPPs and DP wasnt happy because lenses were too much sharp for him.
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Haha. I do not know what to say.
 
Kemalettin Sert said:
i am completely on wide angles :) but this question always makes me curious
if Arri 12mm 1.2F (MP) is possible why the heck Zeiss produces 15mm 2.8 for photographers? they worship to Zeiss 100mm F2 told my friend Master Prime 100mm is 1.2 he was like WTF you are so funny :D he didnt believe until he saw on arri's webpage
Click to expand...

The difference is the Zeiss 15mm 2.8 covers FULL FRAME for the 5D. The Master Prime 12mm does not, optimized for Super35.

Same for the Zeiss 100 F2 vs the Master Prime 100 1.2.

Generally speaking, it's harder to make faster lenses the larger the negative gets. Full Frame "5D" still photography wides rarely get faster than a 2.8. I can't think of a 15,16 or 18 for still photography that's an F2.

Think about Medium Format lenses. On average those are F4s. 2.8 Hasselbads are fast. An f2 is mind blowing for a Hassy.

It's all reletive to the negative. Not so easy to compare when you start jumping formats.
 
I have a copy of the Olympus 21mm f2. It is sharp, very low in distortion and incredibly small.
I do not understand how Oympus could have produced such small FF lenses almost 30 years ago, and the only alternative in modern cinema are great honking lenses like the RPP's from most manufacturers. To give you an idea, an Ultraprime (which is relatively small for a cine lens) is 2.5X larger than this little Olympus.
I have secret desire to ask Duclos if they can rehouse this gem.
 
Clayton Burkhart said:
I have a copy of the Olympus 21mm f2. It is sharp, very low in distortion and incredibly small.
I do not understand how Oympus could have produced such small FF lenses almost 30 years ago, and the only alternative in modern cinema are great honking lenses like the RPP's from most manufacturers. To give you an idea, an Ultraprime (which is relatively small for a cine lens) is 2.5X larger than this little Olympus.
I have secret desire to ask Duclos if they can rehouse this gem.
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Olympus were known to make great glass....
 
Maybe it's only wishful thinking, but I am hoping for an announcement from Red about a new set of RPPs. Everybody knows what the sweet spot is: T 1.5 - 1.8 (this becomes less critical exposure-wise with Dragon), 3 pounds plus or minus, a bit smaller than RPPs, cinema housings and mechanics, standard size across the range, throw in electronics as a bonus. Price these in the RPP range, and if the quality is good, they sell a gazillion.

Note that RPPs continue to show up only intermittently in the Red Store. The full set is almost never available. Hoping against hope?
 
Timothy, that would certainly make sense -- most Super35 cinema lenses aren't going to cover 6K on Dragon, so if RED wants that to be a practical shooting size it would make sense for them to come out with a next-generation set of lenses to match their next-generation sensor...
 
Ryan Koo said:
Timothy, that would certainly make sense -- most Super35 cinema lenses aren't going to cover 6K on Dragon, so if RED wants that to be a practical shooting size it would make sense for them to come out with a next-generation set of lenses to match their next-generation sensor...
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My thoughts exactly, red is going to make a set of 6K primes, Fast and lightweight not cheap though.
 
I own the CN-E prime lenses.
IMHO, they're the best cine lenses for the price.
The 50 mm 1.3 T and the 85 mm 1.3 T are both great, but the 24 mm 1.5 T is really terrific.
If you wanna see the 24 mm in action, download this still picture (http://www.yousendit.com/download/WUJhNWNnTXZ0TWxFQmNUQw) that I took with a 5D MK II last week.
The iris was completely open (1.5 T)
Enjoy!
 
Marco Ferri said:
Has anyone ever considered this lenses?

http://www.lockcircle.com/primecircle_xt_lenses/

I planning to by a prime set in the near future and I am still wondering which one...
great thread!
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I've thought about these too. but these turn the wrong direction as they are based on nikon zf lenses.

these may turn in the wrong direction too as they are based on zf's, but the company has a reputation for quality stuff and they have a sale on at the moment-

http://store.pstechnik.de/all-products/lenses-lens-accessories/35digital-lenses/

and there are these new chinese rehoused lenses as well- they look quite good. they are based on ze lenses so they turn the right direction, and somehow they have added a aperture ring (the ze's don't have a manual aperture)-

http://www.glcinemod.com/english.html#sony

the GL's seem like the best value/quality to me. but i really need to buy one to test.

paul
 
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