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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 :)

Leica Summilux-C Primes

Tom.Wong said:
this won't cover FF correct?
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Correct. They are designed to cover full aperture S35, which is roughly a 31.5mm image circle. Should cover 5K. Some of the longer focal lengths will probably come close to covering FF, but no guarantees of their performance out that far.

So, hypothetically, if someone had the money burning a hole in their pocket to buy these, how long would it take to get a set?
 
Jeff Kilgroe said:
Correct. They are designed to cover full aperture S35, which is roughly a 31.5mm image circle. Should cover 5K. Some of the longer focal lengths will probably come close to covering FF, but no guarantees of their performance out that far.

So, hypothetically, if someone had the money burning a hole in their pocket to buy these, how long would it take to get a set?
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you should call them and pretend your a rental house :)


a shame they aren't future proofing these to be FF, just like how many agree 4k and beyond is future proofing, so is Vista vission FF glass IMHO. would have been amazing to see a set like this, this fast, at all these ranges at FF. 5k will have to do for now... hehehe
 
5k sounds better to me than VistaVision. Maybe I am not as hardcore about IQ as the rest of you... yet. Though I do like the idea of longer focal length optical qualities. 5k brings us a little longer but still within the realm of S35 focus pulling. That we don't need to worry about wasted footage, we have better monitors, we have better/affordable focusing systems, higher sensitivity (smaller apertures for deeper DoF possible), etc... makes it sound like a little bigger is the right step... plus the ability to overshoot bayer resolution for 4k finish.

But I would have to buy a FF35 camera to get a feel for the DoF.

Sounds like you'd have a perfect FOV marriage between these or any other S35 lenses and Epic S35. Even if all the wides 16mm, 18mm, and 21mm didn't cover 5k -which seems very unlikely- you do have S35 16mm coverage. Doesn't that mean you will have a close to equal FOV at 5k with whichever lens was first to cover 5k?
 
i believe band pro at last year nab said that these "mystery primes" def cover 5k, the whole set. not 100% on tha tone though. so hopefully that won't be much of a concern. a lot of the top grade S35 cinema lenses out there cover 5k throughout don't they? do MP's, UP's, S4's, and so on cover 5k? or will they vignette on the wider ranges?

would love to see if that 12 mm MP that just came out covers close or up to 5k.
 
hans de vries said:
ah, if that's the case it's a misunderstanding; I was talking about a 35 mm 1.4 leica lens that I bought second hand for 850 euros, and I wondered why you would have to pay so much more for a lens that I assumed was just re-barreled (if that's the correct term). So my question remains: is a 35 mm leica lens from this new series significantly better than the standard leica lens I bought?
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Whilst perhaps taking the still lens optical design as a stepping off point, the new Leica Cine lenses won't be just re-barreled versions of the still lenses. There are differences between cine and still lenses, not the least being size. The Leica Cine's, whilst being compact in comparison to other fast cine lenses, are larger than many pro DSLR and Leica R lenses and much larger than leica M lenses for example.

The price you paid for yours suggests it's an older pre-ASPH design, possibly Canadian, since new (German) Leica M 35mm Summilux ASPH lenses list above €3000/$4000, and other Leica M lenses much more. That's still much cheaper than the Leica Cine's of course, but that Red Dot never comes cheap.
Coming from the still world I used to consider $7-10K for a lens as getting expensive but, after talking to the Cooke sales director at a UK seminar the other day, I realise that can pale into relative insignificance in the motion world.
 
Andrew Rieger said:
......Another set of fast cine lenses that no one can afford, great!
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"No one" is a broad generalisation Andrew, there are many wealthy individuals and companies out there. Zeiss and Cooke still seem to be in business.......
 
GLap said:
Whilst perhaps taking the still lens optical design as a stepping off point, the new Leica Cine lenses won't be just re-barreled versions of the still lenses. There are differences between cine and still lenses, not the least being size. The Leica Cine's, whilst being compact in comparison to other fast cine lenses, are larger than many pro DSLR and Leica R lenses and much larger than leica M lenses for example.

The price you paid for yours suggests it's an older pre-ASPH design, possibly Canadian, since new (German) Leica M 35mm Summilux ASPH lenses list above €3000/$4000, and other Leica M lenses much more. That's still much cheaper than the Leica Cine's of course, but that Red Dot never comes cheap.
Coming from the still world I used to consider $7-10K for a lens as getting expensive but, after talking to the Cooke sales director at a UK seminar the other day, I realise that can pale into relative insignificance in the motion world.
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thanks for the answer! Mine is a German lens, not very old, I was just very lucky with the price; but 7-10.000 getting expensive? I shot with a hasselblad, but never spend anywhere near that kind of money!
 
I wonder why they went to all the trouble of earlier on denying and denying that these were leicas?
 
hans de vries said:
thanks for the answer! Mine is a German lens, not very old, I was just very lucky with the price; but 7-10.000 getting expensive? I shot with a hasselblad, but never spend anywhere near that kind of money!
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You got a good deal by the sound of it. I was really comparing new list prices but yes, buying good quality used can certainly ease the pain on the wallet.....
 
Studying the product photo, I'm not sure how I feel about the choice of Courier typeface on something so expensive and optically elegant. I'm trying to imagine a Ferrari with courier typeface stylings.:crazy:
 
MichaelHalsell said:
Studying the product photo, I'm not sure how I feel about the choice of Courier typeface on something so expensive and optically elegant. I'm trying to imagine a Ferrari with courier typeface stylings.:crazy:
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That's just totally irrelevant to any of new Leica Summilux-C prime lens at optical or mechanical quality.
 
MichaelHalsell said:
...I'm not sure how I feel about the choice of Courier typeface on something so expensive and optically elegant...
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Agreed..not a font fiend at all but this is a rather odd choice.
...especially since the red dot logo is so classic looking.
 
I wonder what their business model is on these?
Owner/operators will most probably not buy them because of the price tag.
Rental houses?

Besides all that, what would be the benefit if they were covering FF?
FF IMHO will only make sense with anamorphic lenses (unless you really want to shoot academy 4:3), or am I overlooking something?
 
Comic sans anyone?
 
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