FOR SALE Zeiss Super Speed Cine lens SET PL mount RED CAM

[Kevin Jones]

lenses have been sold thanks! For SALE for BEST OFFER Zeiss CINE Superspeeds Set of 5 T1.4 PL MOUNT Cinema Glass lenses PRICE LOWERED TO $21000 obo
SET OF 5: 18MM, 25MM,35MM,50MM,85MM
REAL ZEISS FILM Lenses.. NOT converted still lenses
Great verifiable condition these are the t 1.4 ZEISS/OBERKOCHEN Arriflex branded Mk1 or "B-speed" style lenses that have had new PL mounts installed and completely serviced by Duclos in 2008. NEW 80MM FRONTS and Focus rings etc... MANY MORE PHOTOS ARE HERE:
http://s573.photobucket.com/albums/ss175/alamobucket/
Lenses are in LA area and I can take them to any lens dealer or technician to have them checked out if need be..
I will also be posting receipts for the 5K$ amount of tuneups and gearing expertly done by Duclos this year.
I am aware of all the new prime lens chatter and announcements made about the 3 set , 4 and 5 prime sets and other very nice looking lenses coming out by RED, Zeiss and others, but these 5 guys have got me a lot of jobs this year and they are great classic glass. and fast..VERY FEW OF THE NEW LENS PRODUCTS (EVEN IF THEY WERE AVAILABLE NOW) ARE AS FAST AS THESE ZEISS LENSES. Believe me when the client wants super speed Zeiss,,, that's what they want. If you're interested, email or call and let's talk.
email to info (at) alamofilms (dot) com or call 805 965 1753 or cell at 805 2522400 Leave message if I am not home thanks

 

[michael zaletel]

Hi Kevin:

What is the difference between Mk1 (b-speed) and Mk2 or Mk3?

-michael zaletel
(shooter)

 

[Zakaree Sandberg]

iris blades.. triangular bokeh... I think its the same glass tho... or maybe thats the mk2 and 3 that have the same glass..

 

[Zakaree Sandberg]

be careful with the 18mm too.. ive had issues.

 

[IAN SUN]

PM'ed you.

 

[Kevin Jones]

be careful with the 18mm too.. ive had issues.

Zakaree: What issues are you talking about? Neither I nor the very competent DP who had these lenses before me nor any crew who has shot with these lenses literally all over the world has had "issues" with any lenses from this set. Is this an experience you had with an 18mm Zeiss lens before?

 

[Zakaree Sandberg]

Im sure its not all sets.
Most 18mm super speeds ive worked with seem softer than the rest of the set. But it really could just be lack of proper care of those particular sets.

 

[Evin Grant]

No, the 18mm Super Speed is visibly softer than the other focal lengths, especialy on the Red. This is in all the series. The design is really pushing the limits of optics. You need to stop the 18mm super speed to T2.8 or T4 before you really get to 4K resolution.

 

[Jacek Zakowicz]

What 18mm you've worked with?

What 18mm you've worked with?

No, the 18mm Super Speed is visibly softer than the other focal lengths, especialy on the Red. This is in all the series. The design is really pushing the limits of optics. You need to stop the 18mm super speed to T2.8 or T4 before you really get to 4K resolution.

Hi Guys,
I thought I'd chime in here:
I've projected hundreds of SS over the years:
18mm is one of the best performing lenses in the set. I've never seen 25mm coming close to it. It has floaters in it that need to be adjusted but when done properly it's hard to beat. Mabe REd changes it but I seriously doubt it.
And FYI 18mm with aspheron on it is better than the 12 or 14mm. and that's @T1.3!!!
That's my 2 pennies...
Jacek Zakowicz, optitek.org:thumbsup:

 

[Michael Lindsay]

Hi Guys,
I thought I'd chime in here:
I've projected hundreds of SS over the years:
18mm is one of the best performing lenses in the set. I've never seen 25mm coming close to it. It has floaters in it that need to be adjusted but when done properly it's hard to beat. Mabe REd changes it but I seriously doubt it.
And FYI 18mm with aspheron on it is better than the 12 or 14mm. and that's @T1.3!!!
That's my 2 pennies...
Jacek Zakowicz, optitek.org:thumbsup:

This is interesting. It is at odds with my shooting experience. When I hired in a 18mm with a asperon the other day I refused to use it because it looked no good next to a a 16mm UP... So either Red's OLPF is doing something? Or these 18mm are often not setup right?

Wonder what the score is?

kind regards

Michael L

 

[Kevin Jones]

Price Lowered to $21000 obo

Price Lowered to $21000 obo

NOW lowered price to 21000$ or best offer! I've Just had Duclos check out lenses this week and I now have evaluation in Doc format and Pdf of the cleaning and adjustment they are making on 2 of the 5 lenses. Lenses can be verified or checked out anywhere in LA area or if you like I can email copies of Duclos paper work.

 

[Andrew Benz]

No, the 18mm Super Speed is visibly softer than the other focal lengths, especialy on the Red. This is in all the series. The design is really pushing the limits of optics. You need to stop the 18mm super speed to T2.8 or T4 before you really get to 4K resolution.

I am working with a set of Super Speeds now and this information is timely for me to say the least. Cheers Evin... :beer:

Kevin, good luck with your sale btw.

 

[Hans von Sonntag]

No, the 18mm Super Speed is visibly softer than the other focal lengths, especialy on the Red. This is in all the series. The design is really pushing the limits of optics. You need to stop the 18mm super speed to T2.8 or T4 before you really get to 4K resolution.

I'm shooting with SuperSpeeds since over 15 years now and find the 18mm at least as sharp as the others in the set, if not the sharpest of all. Perhaps yours wasn't well maintained (backfocus off, etc...)? On my Red SuperSpeeds are wonderfull lenses with a nice flare newer designs don't have anymore. I never had a resolving problem. Softs shots happen from time to time and all have been a focus pull issue when camera and lenses are properly collimated.

-----

We had problems with our 18mm when our Red's PL mount was slightly off due to thermal issues and a slightly lose mount. Wide angles lenses show collimating issues clearer than longer lenses and hence can produce soft images when the mount is off and one relies on the marks. I find it hard, if not impossible, to eyball focus with wideangel lenses off the LCD/EVF. Hence one needs well maintained lenses with correct markings.

-----

SuperSpeeds are pretty sharp form T2.8 onwards and softer than UP's around T2 and lower. I find that their soft feeling works very well with Red's clean and digital taste.

Hans

 

[Simon Valderrama]

Made tests last week with my superspeeds (just received 18mm from visual products), and while it's true that best sharpness is achieved T2.8 onwards, i really do not see any difference in the 18mm. all primes match ...

 

[Evin Grant]

It could be maintenance, I'm not a fan of the super speed "Look" and own Standard Speeds so don't have a lot of reason to rent them. But when I have I've always been disappointed in the 18mm. But that could easily just be the sets I've rented.

 

[Robert Horwell]

To think i sold my set including a 135mm for £5K urgh....:head_explode:

 

[SirGear]

Problem is not the Lenses

Problem is not the Lenses

Those of us who have worked for decades with Zeiss cine lenses know the strength of the 18mm T1.3/1.4 type. It consistently out-performs the 25mm and esp. the 35mm. It is simply an amazing lens. BUT very sensitive to shifts in back-focus in the lens mount or changes in flange-distance on a camera. On test equipment, you can clearly see a difference in shifts of .01mm (and less) at full aperture.

The reality is that the RED lens mount is not capable of being adjusted to or maintaining .01mm increments, let alone .001mm. Not with anything like repeatable accuracy, like a rigidly shimmed lens mount.It has no shims, no calibration marks, no guide. Remember, even traditional mounts shift. That's why technicians have drawers full of different shims.

Anyone care to speculate what a lens mount driven on threads does to concentricity and therefore zoom lens tracking ?

I think on most cameras, just tightening the locking screws on the mount after making an adjustment shifts the depth. In other words, it's rather a matter of luck getting the mount set where you want it. Add to this problems of seeing focus in the LCD monitor or EV

So you can't set the lens flange where you want, then you can't SEE what you've got.....until post production where all is revealed.

It's not the lenses guys, it is the fact that all RED users must wander in the wilderness of uncertain Flange-to-Sensor depth. The most accurate diascope does not fully address this issue when the mount cannot hold its intended setting.

 

[Kevin Jones]

Lenses still for sale

Lenses still for sale

Just to try and build some interest.. Lenses are still for sale and are still in So. Cal area.

 

[Jacek Zakowicz]

Red One lens mount

Red One lens mount

Those of us who have worked for decades with Zeiss cine lenses know the strength of the 18mm T1.3/1.4 type. It consistently out-performs the 25mm and esp. the 35mm.
It is simply an amazing lens. BUT very sensitive to shifts in back-focus in the lens mount or changes in flange-distance on a camera. On test equipment, you can clearly see a difference in shifts of .01mm (and less) at full aperture.

You've got it Charles, although I'd differ on the 25/35 comment(it's probably more of personal experience than anything else)

The reality is that the RED lens mount is not capable of being adjusted to or maintaining .01mm increments, let alone .001mm. Not with anything like repeatable accuracy, like a rigidly shimmed lens mount.It has no shims, no calibration marks, no guide. Remember, even traditional mounts shift. That's why technicians have drawers full of different shims.

Charles,
since .01mm = .00039" I doubt that any technician would hold it on any camera since the thinnest shim I've seen(in the US) is .0005"(.0127mm)

Anyone care to speculate what a lens mount driven on threads does to concentricity and therefore zoom lens tracking ?

It doesn't do much. It's easy to see when you turn the adjustment with the lens on and observe the center for traveling in spiral- I haven't seen much

I think on most cameras, just tightening the locking screws on the mount after making an adjustment shifts the depth. In other words, it's rather a matter of luck getting the mount set where you want it. Add to this problems of seeing focus in the LCD monitor or EV.

In build 17 there is the 1:1 zoom feature so you can see each pixel of the sensor pretty clearly-so there goes the LCD viewing argument.

As far as "a matter of luck after tightening the bolts" I built a device- Optimator that has a high resolution target with calibrated LPH(lines per height) with numbers next to them. This was done with that very purpose in mind -to offer "reference" top resolution number that can be used to quickly and accurately check the flange settings. I was showing it to many professionals at the Cinegear last week and all agreed that it worked very well.

So you can't set the lens flange where you want, then you can't SEE what you've got.....until post production where all is revealed.

It's not the lenses guys, it is the fact that all RED users must wander in the wilderness of uncertain Flange-to-Sensor depth. The most accurate diascope does not fully address this issue when the mount cannot hold its intended setting.

I'm not sure how you would use Zeiss Diascope to check flange depth- it seems more suitable for ornithologists.......http://www.eagleoptics.com/spotting-scopes/zeiss/zeiss-diascope-65mm-straight-spotting-scope-silver
BTW, sorry about highjacking this sales thread- I just felt that a little "tech policing" was in order here
Jacek Zakowicz, optitek-dot-org

 

[Kevin Jones]

Lenses are sold thanks!

Lenses are sold thanks!

lenses have been sold