Contax Zeiss Survival Guide

[Domenic Barbero]

Thanks for the input, everyone! The serial number of the MM lens is 7226619, the AE lens is gone. I am going to try some shots in very low light now and see if less light hitting the glass helps.

Domenic, I am looking forward to the comparison pics.

shot on a rebel t3i all at 1.4

 

[Jeffrey T. Morgan]

Domenic, those are definitely more pleasing!

I will conduct more tests, but I may have to write KEH and see if they will take care of me.

On a different note, here is a shot on the Contax 28 2.8 at 2.8 on my Canon t2i,, then a shot on the new Sigma 18-35mm 1.8 at 28mm 2.8 to see how the two lenses match up. I have a full set of Contax primes, but wanted faster wider lenses to round out the kit, I have to say I am happy with the initial results!

 

[Samir Patel]

Hmm looks like sigma is shallower dof even at same aperture?

 

[Jeffrey T. Morgan]

To my eye, they are the same, and mathematically that would make sense as well. I see very little difference in the contrast and color characteristics, which really has me excited about this purchase. I was fully ready to have to make special filters to match this lens to my contax set, but it is REALLY REALLY similar!

 

[Ben Scott]

Completed the first 4 days of my short feature shoot. First time I've used the 4K WS aspect and I must say I loved it. The only hired glass was a Zeiss 15mm CP2 and it seems to cut well with the Contax footage. Biggest surprise of the shoot was how much we relied on my 25mm f2.8. I've tried to offload it on numerous occasions in order to get a 21mm but it really shined for us. The close focusing abilities combined with the relatively wide FOV meant it was the go-to lens for much of the production.

The usual suspects all got a a run out, although we didn't go past the 85mm in terms of focal lengths although that's not too surprising considering we were either shooting a 3-shot or shooting in very cramped locations.

Was also the first time I've used the Contax glass with a proper top grade follow focus and I was very pleased by the action using them with an Arri FF5. Tending to have a throw longer than regular stills lenses but not as long as cine lenses, it worked out very well with the 2:1 gear ratio.

 

[Nick Morrison]

Completed the first 4 days of my short feature shoot. First time I've used the 4K WS aspect and I must say I loved it. The only hired glass was a Zeiss 15mm CP2 and it seems to cut well with the Contax footage. Biggest surprise of the shoot was how much we relied on my 25mm f2.8. I've tried to offload it on numerous occasions in order to get a 21mm but it really shined for us. The close focusing abilities combined with the relatively wide FOV meant it was the go-to lens for much of the production.

The usual suspects all got a a run out, although we didn't go past the 85mm in terms of focal lengths although that's not too surprising considering we were either shooting a 3-shot or shooting in very cramped locations.

Was also the first time I've used the Contax glass with a proper top grade follow focus and I was very pleased by the action using them with an Arri FF5. Tending to have a throw longer than regular stills lenses but not as long as cine lenses, it worked out very well with the 2:1 gear ratio.

Great news Ben. How'd you like the 15 2.8?

 

[Nick Morrison]

As I think I mentioned, I directed a HUGE shoot in LA three weeks ago where we mixed SUPER SPEEDS, STANDARD PRIMES TELES and CONTAX PRIMES (AND ZOOMS).

I was working with Gary Scarpula today (one of NYC's best colorists, does lots of HBO on air)....I asked him if he could tell the difference at all btw CAM A, CAM B, and CAM C (Standard Prime 180 2.8, Standard Prime 135 f2, Contax 60 2.8 Macro). He said, point blank, NO. They intercut PERFECTLY.

If anything, CAM B (Standard 135 F2) seemed a little lower contrast to him (makes sense, serial was in low 6s...others were mid 7's). And actually, he said the 60 2.8 MACRO looked the best! It was by far the punchiest!!

BOOM!

BTW...on set...the Standard Prime 135 F2 and 180 2.8 looked REMARKABLY similar to the Contax 135 f2 and 180 2.8 (I own both). Similar size, similar serial numbers, exact same F stops. On set there was a lot of discussion on whether the optical blocks were, in fact, the same. Would certainly explain how all the footage cut together PERFECTLY.

Just a thought...

Hoping client gives me permission to post this piece next week!

 

[Jeffrey T. Morgan]

Nick,

It will be great to see some of those samples if permission comes across!



So I sent in my 85mm to KEH to exchange. I am worried that the next one will be bloomy as well, but time will tell. I know for sure that if I get another MM from KEH that is EXC or EXC+, it will be great, so I should just calm down.

I now have the 28 2.8, 50 1.7, 135 2.8, 28-85 zoom, 80-200 zoom, and soon my 85mm. I have added the sigma 18-35 1.8 to fill in the wider end with something fast, and as you can see from my earlier post, it will cut in way better than expected. I think I may now save to trade in the 28mm and 135mm for their f2 versions, but I am finally happy and complete with my set... once the 85mm comes in... if Nick doesn't make me want the 60mm macro... ;-)

 

[Nick Morrison]

8, 28-85 zoom, 80-200 zoom, and soon my 85mm. I have added the sigma 18-35 1.8 to fill in the wider end with something fast, and as you can see from my earlier post, it will cut in way better than expected. I think I may now save to trade in the 28mm and 35mm for their f2 versions, but I am finally happy and complete with my set... once the 85mm comes in... if Nick doesn't make me want the 60mm macro... ;-)

The 35 is a 1.4 don't forget! And yes...the 60 2.8 is AMAZING!!! Nice one on the 28-85 zoom. We used that on the shoot as well. Focus throw at 28mm is almost cinema, nearly 270 degrees.

 

[Ben Scott]

Great news Ben. How'd you like the 15 2.8?

Loved it, although being the CP2 version it was bloody massive compared to the Contax set. I'd genuinely prefer the ZE version over the CP one. Some samples in that other thread you were so helpful in. Black Pro Mist 1/8 all the way

http://www.reduser.net/forum/showth...atic-lighting-this-location-Eerie-cabin/page3

Shooting the next scene tomorrow which is a cookery show-style segment so going to bounce an HMI off a wall of Poly and have fun with a m,ild Classic Soft.

 

[Paul Russell]

Loving my 60mm macro. It's the most remarkable lens I've ever seen.

 

[Jeffrey T. Morgan]

Oops, I meant 135 f2, I edited my post to reflect that. I don't see myself buying the 35mm 1.4 any time soon. It's just so expensive that I opted to have the sigma cover that range and more. Also, I had a 35mm 2.8 for a nit, but I NEVER reached for it! I was always using either the 28 or the 50. Even when I tried to use it it was just an awkward length for me. Which is funny because of how standard it is for most people, lol.

 

[Ben Scott]

Loving my 60mm macro. It's the most remarkable lens I've ever seen.

Intrigued about this lens and it's one for the maybe pile down the line. In the meantime I've been having great success with an old Adaptall 2 Tamron SP90mm f2.5. I've also got a 2x teleconverter for it


The Beast of Rainham Marsh film shoot - Red R3D stills by Soma Pics, on Flickr


The Beast of Rainham Marsh film shoot - Red R3D stills by Soma Pics, on Flickr


The Beast of Rainham Marsh film shoot - Red R3D stills by Soma Pics, on Flickr


The Beast of Rainham Marsh film shoot - Red R3D stills by Soma Pics, on Flickr

 

[Uli Plank]

Absolutely, that Tamron is one of my favorites next to Contax glass.

 

[Paul Russell]

I know it's not a macro, but this is the 60mm in action. Pixel per pixel crop of a wider shot, debayered from a Red Rocket and taken straight out of RedCine.

So, any blur can be attributed to two things:
1: No account taken for debayering (I should really shrink it by a third to account for that)
2: The shot is taken through 8 kilometres (5 miles) of Kuala Lumpur's polluted air.
3: The frame was created as part of a timelapse, using the Red's Frame Summing (4 frames)

My Canon L 85 prime can't get anywhere near this sharpness. Not even close.

The full res 77MB tiff can be looked at here.

If it wasn't for the autofocus and the fact that I still do commercial stills occasionally, I'd be selling all my Canon glass right now.

 

[Nick Morrison]

Loved it, although being the CP2 version it was bloody massive compared to the Contax set. I'd genuinely prefer the ZE version over the CP one. Some samples in that other thread you were so helpful in. Black Pro Mist 1/8 all the way

http://www.reduser.net/forum/showth...atic-lighting-this-location-Eerie-cabin/page3

Shooting the next scene tomorrow which is a cookery show-style segment so going to bounce an HMI off a wall of Poly and have fun with a m,ild Classic Soft.

Haha. Glad the BPM helped. Yeah, its a doozy. Can't wait to see some of the footage!!

Classic Soft is great too, esp on female talent...used it last week on a fun shoot, and ended up going as high as "1" at some points (a little high for my taste normally), but it ended up looking all dreamy and amazing. Clients freaked out when they saw the graded stills (all shot on Contax of course).

Can't wait to see this piece you're shooting Ben!!

 

[Nick Morrison]

Loving my 60mm macro. It's the most remarkable lens I've ever seen.

Haha. I agree. I think it's becoming one of my ALL TIME faves too. We used it on this huge shoot in LA recently alongside Standard Prime teles and people freaked out. It looks SICK!!!

I've just finished the edit on that piece (got graded yesterday!!)...waiting for client approval so I can post...then you'll see the 60 2.8 in action like crazy!!

So yes...I totally agree...the 60 2.8 Macro is a MONSTER.

 

[Nick Morrison]

I know it's not a macro, but this is the 60mm in action. Pixel per pixel crop of a wider shot, debayered from a Red Rocket and taken straight out of RedCine.

So, any blur can be attributed to two things:
1: No account taken for debayering (I should really shrink it by a third to account for that)
2: The shot is taken through 8 kilometres (5 miles) of Kuala Lumpur's polluted air.
3: The frame was created as part of a timelapse, using the Red's Frame Summing (4 frames)

My Canon L 85 prime can't get anywhere near this sharpness. Not even close.

The full res 77MB tiff can be looked at here.

If it wasn't for the autofocus and the fact that I still do commercial stills occasionally, I'd be selling all my Canon glass right now.

Holy shit. See what you mean. Downloaded that TIFF and it's sick. Yeah, there's a reason OPPENHEIMER converted both the 60 and 100 Contax Macro's to PL

Notice the verbage on that "PhotoCineRent" page:

We currently provide the OppCam/Zeiss Contax 60mm and 100mm Macro lenses. These lenses will go 1:1 and match most Zeiss motion picture lenses.

"Match most Zeiss motion picture lenses..."

Makese me smile just to read that.

Yeah the 60 2.8 is a beast, for a number of reasons:

1) As it's not optimized for speed (it's a 2.8), it's instead engineered to be exclusively about RESOLUTION
2) As it's a macro, it's also designed to have almost ZERO DISTORTION
3) Because it's a macro, it also has stunning focus rotation (what is it....4 x 360?...I know I can rotate mine many, many times)
4) What makes it a unique is that it's a 1:1 macro (w/out an extension tube that costs you light!)...even modern ZF/ZE Macros are only 1:2

Love this LENS!!!

 

[Ben Scott]

Cheers Nick. It's been a gruelling shoot so far but we got some good bits and pieces along the way. Cookery show shoot went well yesterday - will post stills in a sec - but I felt the scenes in an adjoining green room were a bit flat due to there being no real depth in the room. Might have to rely on the close ups for that one, a la Les Miserables.


Some other stills in the meantime

50mm f1.7


The Beast of Rainham Marsh film shoot - Red R3D stills by Soma Pics, on Flickr

25mm f2.8


The Beast of Rainham Marsh film shoot - Red R3D stills by Soma Pics, on Flickr


The Beast of Rainham Marsh film shoot - Red R3D stills by Soma Pics, on Flickr

 

[Nick Morrison]

Ben you are killing it with the BPM. NICE!!!