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Contax Zeiss Survival Guide

Follow Focus and play/backlash question.

I tested out a follow focus on two of my ZCs - 60mm Makro and 180 2.8. I got this follow focus - a Genustech Bravo. My ZCs are not cinemodded, therefore I used the flexible lens gear that came with it. With everything tightened, I still get some backlash on the 60mm at the beginning/ends of the focus and a lot with 180 (I'd expect this due to the length) but there's also another problem... for instance the Makro as I understand it, would not be something built for extreme FF as the lens elements shift and the gear slips the longer you turn the knob, that part I get, but the backlash I'd like to get rid of. Is this just the FF I got? What do you all use for FF on your ZC's and is there even a point to cinemodding if backlash will be a problem with these lenses?

Any feedback is appreciated on this matter. Thanks
 
liam howlett said:
Follow Focus and play/backlash question.

I tested out a follow focus on two of my ZCs - 60mm Makro and 180 2.8. I got this follow focus - a Genustech Bravo. My ZCs are not cinemodded, therefore I used the flexible lens gear that came with it. With everything tightened, I still get some backlash on the 60mm at the beginning/ends of the focus and a lot with 180 (I'd expect this due to the length) but there's also another problem... for instance the Makro as I understand it, would not be something built for extreme FF as the lens elements shift and the gear slips the longer you turn the knob, that part I get, but the backlash I'd like to get rid of. Is this just the FF I got? What do you all use for FF on your ZC's and is there even a point to cinemodding if backlash will be a problem with these lenses?

Any feedback is appreciated on this matter. Thanks
Click to expand...

We use this FF:

http://www.bhphotovideo.com/c/product/728843-REG/Vocas_0500_0001_Manual_Focus_Controller_MFC_1.html

It's small, an ideal size for small Contax primes, and has great mechanics. We use two of them.

Can't speak to the backlash with it, as my DP is the one on it all day, but I can ask.

The 60 has massive throw (3 entire rotations?), so it's not possible to rack from infinity to 1:1 macro on most follow focuses...the lens travels too far and falls off the follow focus gear.

best
 
Nick can you comment on 85 1.4 vs 100 2, I've had the 85 for a while and def notice the ca in harsh backlit situations at lower fstops, maybe the 100 will remedy this? I have all mmj
 
Jake Wilganowski said:
Nick can you comment on 85 1.4 vs 100 2, I've had the 85 for a while and def notice the ca in harsh backlit situations at lower fstops, maybe the 100 will remedy this? I have all mmj
Click to expand...

The 85 1.4 wide open certainly stresses the design. We rarely shoot it wide open, and use at f2 and up generally (we have an MM and AE).

Our 50 1.4 however is superb wide open, and maintains a high level of contrast (its a very high serial number, mid 9's).

The 100 f2 is great at an F2 - very robust and contrasty. We haven't used it in situations that would bring out CA (as we use it mostly for interviews), so can't speak to that exactly.

However the 100 f2 is much more contrasty and rich than say the 135 f2 wide open, which our colorist noticed lacked contrast in the mids, even stopped down (ours is very old, high 5's).

The 100 f2 is one of the best Contax primes we've ever used. I'd rank it up there with the 21 for overall consistency. It seems to pop at all apertures.

The 35-70 is similar btw, has that "pop".

We're starting to fall in love with it recently, in place of the 28-85 (which is also good, but doesn't have that exact "wow" when you throw it on).
 
Cool yeah I have all those and agree. 100 f2 up next I suppose
 
Jake Wilganowski said:
Cool yeah I have all those and agree. 100 f2 up next I suppose
Click to expand...

You won't regret it.

Especially at 6K with the wider FOV, we've been using it more and more (ie 50mm on the medium, and 100mm on the tight). Whereas before we were generally 35mm on the medium, and 85mm on the tight.
 
The 60 has massive throw (3 entire rotations?), so it's not possible to rack from infinity to 1:1 macro on most follow focuses...the lens travels too far and falls off the follow focus gear.

Got around this by having Peter at RP manufacture and install a long gear.
 

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Ok, this is my first post on this thread, but I've been reading it for some time. Probably about 6 months. And it's been an inspiration! Thanks Nick. You've really done an incredible job here.

There was a 'look' I've been searching for... something different to the Canon crowd, more organic and less clinical, and I stumbled across this thread and decided to take a punt. I got the 35mm 2.8 first, tried it out and went wow... Contax IS the solution!

I've been slowly building up my collection and now I have 18/4, 21/2.8, 28/2.8, 35/2.8, 50/1.4, 60/2.8S, 85/2.8, 135/2.8, 28-85/3.5-4 & 80-200/4. All Leitax'd, and de-clicked by a local technician. I can confidently say I no longer need Canon lenses and I'm happy to sell the lot (Ok, except my 50/1.2... I'm keeping that). I'm hoping to put some grabs up here soon from a recent shoot.

So thanks everyone for providing such a great resource.
 
Here's a few grabs from a recent music promo shoot with BMPCC and MB speedbooster which gives a S35 FOV for the lenses. It's yet to be graded - I just did something rough for this preview.

First grab is 28mm. 2nd is 85mm. 3rd & 4th is the 35mm.
 

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Tristan Pemberton said:
Here's a few grabs from a recent music promo shoot with BMPCC and MB speedbooster which gives a S35 FOV for the lenses. It's yet to be graded - I just did something rough for this preview.

First grab is 28mm. 2nd is 85mm. 3rd & 4th is the 35mm.
Click to expand...

Tristan, these look GREAT!!!

Congrats, welcome, and can't wait to see more of your work!!!
 
Tristan Pemberton said:
Here's a few grabs from a recent music promo shoot with BMPCC and MB speedbooster which gives a S35 FOV for the lenses. It's yet to be graded - I just did something rough for this preview.

First grab is 28mm. 2nd is 85mm. 3rd & 4th is the 35mm.
Click to expand...
nice!
the 28mm looks fantastic too! just a good deal for that lens.
 
Nick Morrison said:
...The 35-70 is similar btw, has that "pop". We're starting to fall in love with it recently, in place of the 28-85 (which is also good, but doesn't have that exact "wow" when you throw it on).
Click to expand...

In fact my regular international travelling companions are now the 21, 35-70 and 80-200. For the sort of work I do, having constant aperture zooms is a real bonus. I'm from the 'old school' where the rules were: "If you need to zoom, Don't!" but gee, when you break the rules, a constant aperture zoom is a really, really nice thing...

Here's a very short, ungraded clip from last week's shoot up at 8000' in Taiwan where I broke the rule with the 80-200 f/4.0 on the Speed Booster: https://www.youtube.com/watch?v=EnVs7New-rg
 
Interesting article, Craig. I have gotten somewhat tired lugging my RED around the world. Not that it doesn't make excellent pictures, (including some darn good stills from the motion grabs ... I even did a photo show in Italy with large format prints from motion grabs), but it just seems to attract a hell of a lot of attention wherever I go and it certainly takes more time to set up. So ... for shits-n-giggles I just got a Sony A7RII that I use (in Super 35 mode) with a Metabones Speedbooster Ultra and my "Leitaxed" Contax/Zeiss lenses. My new standard run-n-gun kit will be the Sony with a 21, 28, 35-70 and 100. I just got a Shogun this week and I am playing with that. So far, pretty impressesd with the Sony/SpeedBooster/Contax/Shogun combination. Nice little package for stills and video.
 
Just an update. I've had my set for about 2 years now. I use them mostly for narrative and non-commercial work (though I have used them on commercials) because of the great low con look they provide. Sample image using one of the lenses (35 if I remember correctly) along with an Epic-Dragon. Thanks Nick!!!

elusion3.png
 
Bill Sepaniak said:
Interesting article, Craig. I have gotten somewhat tired lugging my RED around the world. Not that it doesn't make excellent pictures, (including some darn good stills from the motion grabs ... I even did a photo show in Italy with large format prints from motion grabs), but it just seems to attract a hell of a lot of attention wherever I go and it certainly takes more time to set up. So ... for shits-n-giggles I just got a Sony A7RII that I use (in Super 35 mode) with a Metabones Speedbooster Ultra and my "Leitaxed" Contax/Zeiss lenses. My new standard run-n-gun kit will be the Sony with a 21, 28, 35-70 and 100. I just got a Shogun this week and I am playing with that. So far, pretty impressesd with the Sony/SpeedBooster/Contax/Shogun combination. Nice little package for stills and video.
Click to expand...

You're right about that Bill. I'm looking at the new a6300 which would simply bayonet onto my existing rig but of course, I like the 'video' form factor with that big, lightproof viewfinder/eyepiece. The HD stills I grab from the Atomos 'Star' at 200Mbps are more then adequate for most web based applications so as I have little need to shoot 4K yet, I'll stick with this setup for the interim.

In fact, I'm Taiwan right now having just completed shooting Part II of this 'railway' themed documentary. We even captured heavy 'Snow in the Tropics' and the HD frame grabs are here for all to see: https://www.facebook.com/Ozsteam/
 
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