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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 :)

Contax Zeiss Survival Guide

Hello all, has anyone ever tried their Contax lenses with the SLR Magic Anamorphot?
I have a feature film to shoot next year, I'm definitely shooting with Contax, and probably a Sony A7s. I wonder how much of the Contax lens characteristics the Anamorphot retains. I'm asking because I'll probably just have to buy it, don't think anyone around here owns it.
 
after reading about the Anamorphot, looks like you can only use it with lenses with 50mm front diameter or less :(
 
Domenic Barbero said:
after reading about the Anamorphot, looks like you can only use it with lenses with 50mm front diameter or less :(
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It's not the filter diameter, it's the actual glass measurement, it could be up to 68mm filter diameter.
 
yea just reread. thats much better.
 
Just using the Epic MX, the amazing Contax lenses, bounce boards, and some simple compositions can yield pretty darn good results. Straight out of the camera. No post. That's with a tiffen vari-ND. All shot on the MoVI so images may not be as tact sharp. :-)

Video version coming soon!













 
Chris great work!!!! Great reminder of how AMAZING a shoot can look when we focus on the basics - natural light, strong framing, compelling talent. Entire features have been made this way! Throw in your superb Movi work and the organic look of Contax glass and you have a home run!!
 
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Brandon Kelly said:
those shots look great Chris, what color/gamma is this at?
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Thanks Brandon! RG4/RC3.

Brandon Kelly said:
also are you using white bounce boards? Love the subtle low contrast it is giving? Thanks
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White insulation board with reflectix on it - buy from Home Depot...hecka cheap. Works brilliantly. Cut to size. One side is shiny, the other is like a white bead board. Tape all edges with either white or black gaff tape and walla. Perfect bounce sources! Sure beats spending hundreds of dollars on something that does the same effect.

Nick Morrison said:
Chris great work!!!! Great reminder of how AMAZING a shoot can look when we focus on the basics - natural light, strong framing, compelling talent. Entire features have been made this way! Throw in your superb Movi work and the organic look of Contax glassx and you have a home run!!
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Thanks Nick! Always appreciate your kind words. I'm still amazed every time I get images back from what I shot. Yea, it looks decent on set but man...looking at it in 4K. WOW!

I only had a total of less than 2 hours with the talent over the 2 shooting days...so not a lot of time to capture what the creative director wanted, since most of the attention was focused on the still sides of things (when will ad agencies realize the power of cinema media, hehe). Edit only took a few hours, but I'm happy with it with the limited amount of shooting time I had.

I should be able to share the edit today sometime.
 
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Hey guys, here's the PROJECT RUNWAY ALLSTARS image spot I co-directed and produced this fall:


It's the follow up to our Heidi Klum Project Runway Image spot from this summer.

Shot on EPICS and SCARLETS on Contax 80-200 and Contax 21 2.8.

A third RED camera shot with the Canon FD 35-105 from Eddie "the lens doctor", which actually matched the Contax glass pretty well! Eddie's zoom is parfocal and two-touch, so we used it for whip zooms in and out.

We used Classic Soft 1/4 on all REDs except when we shot on 21 2.8. Those wides didn't really need it.

Hope you enjoy!!

My only regret on this job is that the final spot was never GRADED. Jake Blackstone and I delivered graded dailies, but these weren't used in the final conform. VFX went back to the original R3D's, and while they did a fine job, Jake and our "dailies" looked SUBLIME.

Oh well, can't win em all!
 
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@Chris: Was this a Lowlight OLPF ? I could spot the dreaded red spot pattern…
 
Uli Plank said:
@Chris: Was this a Lowlight OLPF ? I could spot the dreaded red spot pattern…
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Yea, but it was Epic MX. I edited that shot in the latest edit.

Ted Parkes said:
Chris.. Looks amazing, love the flares. Great choice on the frame rate as well. Nicely done!
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Thanks so much Ted. Contax lenses ftw!
 
I'm so happy the I found this thread yesterday!!!

Yesterday I thought I was going to spend 5'000k + for a Set of primes.
Today Contax seems to be THE thing for me. The pictures I've seen
are amazing!

I know this question has been asked, but I havn't really found an answer
(i confess that I didn't go through all 250 pages :P)

Which lens is "better" the 28-80 or the 35-70? I guess the 30-70 is basically
for the 645? And I guess both are Push&Pull?

What is your experience?

Is there a need to look for specific models? AE/MM?

Thanks for the feedback.

Cheers
 
Janis,

the 28-85 has a wider range of focals but you sacrifice sharpness and a constant aperture...

I think many redusers have both but I never liked the 28-85,
I have even bought a BRAND NEW 35-135 but I only use the 35-70 when a zoom is needed...

It has an incredible pop due to its high micro contrast!

Both are MM only and both were only Made in Japan I think.
 
On ebay I also find a 35-70 3.5-5.6? Is this a newer or an older model? Except the constant aperture
wheres the difference between the two?

Cheers
 
That one is for Contax G, not C/Y, please check the first few posts by Nick. In short: you don't want N or G series, just go for Contax/Yashica aka C/Y mount.

The 35-70 C/Y with constant aperture is very good, just like primes of it's time.
 
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