Welcome to our community

Be a part of something great, join today!

Register Log in
  • 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 :)

Zeiss Standard Speeds on Scarlet or Epic - Examples?

Jason Honeycutt

Jason Honeycutt

Well-known member
Joined
Sep 19, 2012
Messages
283
Reaction score
1
Points
0
Location
Los Angeles, CA
I remember seeing someone post an example of Standard Speed footage shot on Epic or Scarlet (I can't remember which) but, for the life of me, I can't seem to find it on here. Does anyone have any examples uses these lenses? I remember loving the look of them.

Thanks!
 
I owned a set for a long time and really liked them. They do porthole especially the 32 and 28. It was never a problem, only on limbo's and greenscreens were they unusable. The reason I sold them was the fact that they were OK for 4K but the portholing became apparent on 5K and for detailed landscapes and the likes they get very soft on the sides and corners.
 
Mike McMillin said:
https://vimeo.com/61197814 Heres a video I just shot with them. I think it might have been me posting stuff about the standards, I think you shot that Zed video right jason?
Click to expand...

Mike you used MKI Standards on this video right? The old MKI's can have that amazing "star" aperture shape which I saw flare up at the top of your video, in the field. It's like the Cooke star, on crack. I love it. These MKI lenses are small, and not super cine friendly (I have one that doesn't even have its aperture declicked!). They remind me of small stills primes.

I had a lens tech look at mine, and he said that by MKII the housings became very cine friendly. But the "star shaped" iris blades I get the feeling you only find in the original, small arriflex mount standards...

Anyway...nice video.

Great look.
 
Mike McMillin said:
https://vimeo.com/61197814 Heres a video I just shot with them. I think it might have been me posting stuff about the standards, I think you shot that Zed video right jason?
Click to expand...

Ugh-mazing. I love these the more I see of them. Stunning.

Yeah, I did that Zedd video - great memory! :) Just mainly used my Tokina AT-X Pro II (since it was kinda run n' gun) and a Nikon 28mm, then a 300mm.
 
Alexandre de Mortemart said:
CP2 super speed are great lenses.
We did a test recently in slow motion high and low light. Check it out
http://www.youtube.com/watch?v=mF4ME66L2SA
Click to expand...

Great shots, wish I was there. Personally, I just think CP2s look too "crisp" and "perfect". I really like that almost anamorphic look to the standard speeds, I think they find the right balance of the image popping without being too crisp.
 
Jason Honeycutt said:
Great shots, wish I was there. Personally, I just think CP2s look too "crisp" and "perfect". I really like that almost anamorphic look to the standard speeds, I think they find the right balance of the image popping without being too crisp.
Click to expand...

Funny Jason you say that, but then you don't like Supers! Supers are even softer wide open than Standards. Standards are quite sharp wide open at T2. Supers and Standards even out at 2.8, but for a "softer" look you can get that easier with Supers at T2 or 1.4.
 
I just got these for a shoot this weekend, I'll try to get some stills/footage up asap after I'm done. Can't wait :)
 
I've got a very clean set of Standards for sale, with the reduced low price these are a great value for the money:

http://www.reduser.net/forum/showthread.php?88857-FS-GREAT-SET-OF-STANDARD-SPEEDS-T2-1!

Mark ii, original PL mounts. They work great with the Epic. The 16mm has the worst coverage of the set, which is why I declined to buy it when I had the chance. This set covers the most common aspect ratios for 5K on an Epic - 2.4:1 and 16x9. With the Dragon sensor the diagonal of 5k will be slightly smaller due to the smaller pixels and this will hopefully allow the Standards to cover all aspect ratios of 5k. That combined with the higher sensitivity of the new chip, and I expect these lenses will be very desirable for working with the Dragon. I, for one, am happy with a mere 5k resolution.
 
For working examples of these lenses in a drama situation check out 'Rabbit Hole' with Nicole Kidman.
i understand this was shot on the standard speeds on a Red. Might have been a Red One/MX.
 
Matt Choules said:
For working examples of these lenses in a drama situation check out 'Rabbit Hole' with Nicole Kidman.
i understand this was shot on the standard speeds on a Red. Might have been a Red One/MX.
Click to expand...

Thanks for that... here's the trailer;

https://www.youtube.com/watch?v=K9iJH2P96dM

Beautiful - exactly the look I love. Am I nuts in that the Standards (can) look a lot like MPs, especially that "House of Cards" look? This guy at the rental house thought I was nuts, as he was trying to get me to rent Supers.

This thing I'm shooting this weekend will actually be acted scenes so I'll try to get those cut and posted asap.
 
Jason Honeycutt said:
Thanks for that... here's the trailer;

https://www.youtube.com/watch?v=K9iJH2P96dM

Beautiful - exactly the look I love. Am I nuts in that the Standards (can) look a lot like MPs, especially that "House of Cards" look? This guy at the rental house thought I was nuts, as he was trying to get me to rent Supers.

This thing I'm shooting this weekend will actually be acted scenes so I'll try to get those cut and posted asap.
Click to expand...

To me Standards are more contrasty and softer than Master Primes. I can't believe you like low contrast but don't like Supers. At 2.8 both Supers and Standards are pretty similar in look.
 
Maybe it's the footage I've seen with the Supers... the stuff I've seen seem thin and a little plasticky to me, ya know? Like, lacking character... (no offense RED) but like the RPPs. To date, I've just never seen anything shot by Supers where I'm excited about, usually just "Eh, that's pretty nice." It seems that the mids are a little washed out to me with Supers. But with Standards, it seems you get that Fincher look a lot easier, which you have more dynamic range to pop the color in post. With the Standard footage I've seen, treated or not, it's that cinematic look I like... almost anamophic without the hassle.

I guess I'll find out this weekend.
 
Last edited:
Alright... as promised, here are some framegrabs, just my "one light" in-camera color I do, not fully graded yet. I shot solo for two days, getting shots of scenes for a show I'm going to pitch. There's a restaurant wideshot with 'coves' in the background that I would have lit had I brought more than three LEDs (1x1000, 1x1000 bi-color, 1x500 portable).

For the guy/girl scenes, I was going for the heavy backlight, warm, 'romantic' feeling... with the office scenes, I was going for a 'Social Network' more natural vibe (the office was all glass, good times avoiding the light reflections). I'm shooting another scene tonight, will post some more pix. I'm going to make it more of a 'commercial' look, might do some lens flares on some alt takes.

I really loved these lenses though.


_Justine3_zps915f8f47.jpg

_Justine1_zpscff3b664.jpg

_Garret2_zps1fe2dc01.jpg

_Garret1_zps7d8da88e.jpg

_Park_zps2f627b7c.jpg

_ScottJustine2_zps57d93c30.jpg

_Bridge_zps8419fcf2.jpg

_Robin_Office_zps74234092.jpg

_Scott1_zpsf1738bad.jpg

_Johanna1_zps873068ac.jpg
 
You must log in or register to reply here.
Back
Top