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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 :)

Zeiss Supreme Prime series

Michael Lindsay said:
Great to show the ref... I now suspect for a haze filled room of people dancing you’ll be cool (the 12 is a bit smokey;-)...

Also if you don’t need the stop (T1.9) you can always put something super cheap like the tokina PL 11-16 or 11-20 on the list.. lens far better than they have any right to be considering cost... but also do look at the Sigma PL 14mm if you need more speed.

What exact chip size are you shooting? I am assuming lots of slowmo? I ask because if it is say a Red dragon at 6k the sigma 14mm will be as wide than the 12mm ultra at Max good coverage...
Click to expand...


I don't mind the speed, that set would be lit for T4+. This is a Korean Pop music video, the choreography is 1:1 to the song so it won't need any slow motion. There are party scenes later on but the wide isn't needed there. I will be shooting on the new BM Ursa Mini Pro G2; sensor at 16:9 is pretty much Alexa sized. I think I will just go with the Ultra Prime after all, it's $85 per day here :) Thank you again for your input.
 
Official Trailer | Motherland: Fort Salem | Extended Version



By Motherland




Info on camera and lens used can be found at the link below.

https://insta-stalker.com/post/BvweO7HAKLT/


Sony Venice/Zeiss Supreme Prime




Witches becoming warriors. Their training begins now.

SUBSCRIBE: https://www.youtube.com/Motherland?su...

About Motherland:
Set in an alternate America where witches ended their persecution over 300 years ago by cutting a deal with the government to fight for their country, “Motherland: Fort Salem” follows three young women from basic training in combat magic into early deployment. In this world, the traditional roles of gender and power are flipped, with the more dominant women on the front lines fighting looming terrorist threats that are familiar to our world—but with supernatural tactics and weapons. The series also stars Ashley Nicole Williams, Jessica Sutton, Taylor Hickson, Demetria McKinney and Amalia Holm. “Motherland: Fort Salem” is executive produced by Eliot Laurence, Will Ferrell, Adam McKay, Kevin Messick, Maria Maggenti and Steven Adelson.

Like Motherland on FACEBOOK: https://www.facebook.com/motherlandtv
Follow Motherland on TWITTER: https://twitter.com/Motherland
Follow Motherland on INSTAGRAM: https://www.instagram.com/MotherlandTV
 
“TIES” directed by Laura Stabilini (Trailer) 2019


By Laura Stabilini


Written and directed by LAURA STABILINI
Additional writers: PAUL CAMERON, SUZANNE LEZOTTE
Executive Producer: KAREN LAVENDER
Producers: ISABEL MACHRONE, LAURA STABILINI
Director of Photography: PAUL CAMERON, ASC
Editor: PIETER VILJOEN and LAURA STABILINI
Music Composer: MARLON RAY

Starring NICO PRESLEY, JAMES HAL HARDY, JONATHAN THORNSBURY, BOBBY GENE

Costume Designer: REBECCA BLAZAK
Production Designer: MATTHEW DAVIDSON
Set Decorator: ESTER KIM
Property Master: AARON LALAIAN
Makeup Artist: DENISE PAULY -HOVEY

First Assistant Director CHRISTOPHER MICHAEL
Second Assistant Director JOHN EVANGELISTA
Production Supervisor EUGENIA ALADRO
First Assistant Camera: THOMAS BARRIOS
Second Assistant Camera: ROBERT CAMPBELL
Second Assistant Camera: MARK CONNELLY
Digital Imaging Technician: MARK WILENKIN
Camera Assistant: MATTHEW EWING
Gaffer: MICHAEL ADLER
Best Boy Electric: JORDAN PARHAD
Electrician: JANOS CSOMA
Key Grip: CARLOS BOILES
Best Boy Grip: KENNY POPE
BTS Camera Operator: DANNA KINSKY
Sound recordist: BO SUNDBERG

(ADDITIONAL PHOTOGRAPHY)
Unit Production Manager: LOA ALLEBACH
First Assistant Director: MATTIA FERRANTE
Gaffer: CHRISTOPHER GALLO
Digital Imaging Technician: JAMES PETERSMEYER
Sound Recordist: MANUEL LOPEZ CANO
Makeup Artist: GLADYS DIAZ
Art Department Assistant: Sam Robin -Tani

Production Assistant: CORNELIUS D. GANDY
Production Assistant: MATEUS ASHTON
Production Assistant: PO WEI CHANG
Production Assistant: STEVEN LEVITT
Location Manager: JAMIE DANESH
Assistant Location Manager: PETER KELLEY
Permit Coordinator: JASON DEL PAINE (JDP) at PACIFIC PRODUCTION SERVICES
Coordinator Permit Operations: CARRI STEVENS at L.A. FILM

Studio Teacher: TERRI GANEY
Accountant: REBECCA RHINE

Editorial: ROCK PAPER SCISSORS
Executive Producer: ANGUS WALL
Executive Producer: RANÁ MARTIN
Head of Production: SHADA SHARIATZADEH
Producer: JANAE ABRAHAM

Online, Color and VFX: A52
Senior Colorist: PAUL YACONO
Compositor and Online: CHRIS RILEY
VFX's Executive Producer: THATCHER PETERSON
Senior Color Producer: JENNY BRIGHT
Color Producer: SARAH LABORDE

Flame Artist - ROBERT MOGGACH

Post sound and mixing: DANTE FAZIO

Music composer MARLON RAY
Cello player EMMANUEL VENTURA-CRUESS
Music recorded at THE COMPLEX STUDIO

Lenses: ZEISS SUPREME LENSES
Camera Rental: KESLOW CAMERA
Grip rental: CSC GRIP RENTALS
 
ZEISS eXtended Data | Masterclass #6.1: Using Ambient MasterLockitPlus


By ZEISS Cinematography

There are different ways of recording ZEISS eXtending Data. Ambient MasterLockitPlus is a universal solution that you can work with no matter which camera is used on set - as long it is capable of synchronizing the time code with the MasterLockitPlus. Christophe Casenave will show you how to do so.



ZEISS eXtended Data | Masterclass #6.2: Workflow with Pomfort Silverstack



In our previous episode (https://youtu.be/AdBYCNdEJt8) we showed you how to record ZEISS eXtended Data with Ambient MasterLockitPlus. Now it's time to extract the data with Pomfort Silverstack. In this episode we show you how.






ZEISS eXtended Data | Masterclass #4: RED DSMC2 Workflow



RED DSMC2 cameras can record ZEISS eXtended Data directly via the 4-pin interface of the PL mount. In this episode of our XD Masterclass we will show you how that works.



ZEISS eXtended Data | Masterclass #3: Benefits in Post-production (NUKE Project)


Relying on data from shooting grids and greycards? Not anymore! In this episode of our eXtended Data Masterclass you will learn about how to use the ZEISS lens metadata in post-production. For this purpose, our product manager Christophe will compare the traditional way with the more efficient precise workflow offered by ZEISS eXtended Data.
 
The Bachelor 2019



By tony luu


Shot on Alexa LF with Zeiss Supreme Primes
 
PLTO - Something You Shouldn't Know



By PLTO MUSIC



Info on camera and lens used can be found at the link below.

https://www.instagram.com/p/BzGwpp6AYXk/

Red Monstro/ Zeiss Supreme Prime





PLTO - Something You Shouldn't Know

Director: @dukeydukez
Producer: @danny_sedore
DOP: @aleks_bros
Colourist: @Clintonhomuth
Art Director: @iam.phina
Graphics: @amisi.co
 
Outsurance - The Calling “Linda” Directors cut




By Darling



Info on camera and lens used can be found at the link below.


https://www.instagram.com/p/Bywx8cUDil0/


Sony Venice / Zeiss Supreme Primes



AGENCY: OUTsurance
Executive Creative Director: Bryn Puchert
Agency Producer: Fundi Shezi
PRODUCTION: Darling Films
Exec Producers: Melina McDonalds & Lorraine Smit
Producer: Mmameyi Mphahlele
Director of Photography: Willie Nel
Production Art Director: Julie Bonnet
POST PRODUCTION:
Editor & Company: Mark Ash @ Ludus
Video Finish/ Grade : Terry @ Black Ginger
Music Company/Composer/Sound: Chris Letcher
Audio / Final Mix / Sound Engineer: Lorens @ Sterling Sound
Post Production Online: Michael Naidoo @ Ludus
Post Production Offline: Ludus
 
Zeiss Supremes and Arri Signature Primes Lens Test - at EVIDENCE CAMERA



By VERACITY PRODUCTIONS





Comparison of two full frame lenses at two focal lengths.
Shot on Alexa Mini 3.4K OG Arri Raw
Edited in Davinci. Exported to H264 from Raw
AC: Rachel Dusa
Gaffer: Jose Andrés Solorzano
Special thanks to
Kimisha Renee Davis
Tia Theis
Produced by Veracity Productions
 
ZEISS Supreme Prime Lenses - Stucco Trailer (4K)



By ZEISS Lenses Americas




STUCCO is the first narrative offering from Janina Gavankar and Russo Schelling. This left-of-center film is reminiscent of a 70s slow-burn thriller but with a modern day twist, combining intense practical effects with bleeding edge technology to conjure the feelings we, as humans, are least proud of.

While hanging a piece of art in her new home, a woman knocks a hole in her wall, revealing what might be another room. Her mind races and unravels as she wonders what could be on the other side...

Shot on ZEISS Supreme Prime Lenses

Directors: Janina Gavankar, Russo Schelling
http://www.janinagavankar.com/

Cinematographer: Quyen Tran
http://www.quyenfilm.com/

Imaging Scientist: Joachim Zell
https://www.imdb.com/name/nm0954581/

Senior Colorist: Tom Reiser
https://www.imdb.com/name/nm2762682/

Editor: Barry Goch
https://www.imdb.com/name/nm1325578/
 
In the garden with Zeiss Supreme Primes (4K DCI)


By TR



Shot with the ZEISS Supreme Primes 35mm and 50mm in combination with the RED DSMC2 Monstro 8K VV Sensor.....

Just to get a bokeh feel for those primes.....

Mastered in 4K DCI

KEINE WERBUNG / thx @Teltec for loaning
 
To be quite honest, the more I look at the Supremes and the Signatures, the more I like the Arri Sigs over the Supremes. The Supremes look almost identical to my Otuses... So why would anyone buy those? Hopefully, Arri and Zeiss will team up again on some Full Frame glass.
 
Which, if any, of the "high-end" cinema lenses are of APO design?

If the answer is "none", why is that? I'm not suggesting they should be. Just wondering why APO is employed in some glass but not in other glass.
 
John David Pope said:
Which, if any, of the "high-end" cinema lenses are of APO design?

If the answer is "none", why is that? I'm not suggesting they should be. Just wondering why APO is employed in some glass but not in other glass.
Click to expand...

I believe APO (but may be wrong) is almost more of a marketing term... As in there is no accepted metric for how free of aberation you would have to be to use the term.

If you look at Sumilux-C and Signature lenses they are more APO than any stills lenses I own with this APO designation.
 
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