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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

DCS@Cine Gear Expo 2018 - Zeiss

From Vimeo

James Mathers interviews Christophe Casenave of the Carl Zeiss company at Cine Gear Expo 2018. Casenave gives a brief history of the company as well as some of the design philosophy behind the creation of their Cinema lenses. He also gives some details of the new Supreme series lenses designed for Cinematic large-format coverage and high speed in a small, lightweight lens.



Skip to about 3:54 into the video for the Supreme Primes discussion if you don't want the Carl Zeiss History Lesson.


 
COS x STUDIO SWINE - NEW SPRING IN SHANGHAI


From Vimeo...

COS x STUDIO SWINE - NEW SPRING IN SHANGHAI
Director: Mel Bles
Production Company: Webber Reppresents
Director of Photography: Chris Clarke
Shot On: Sony Venice, Zeiss Supreme primes

 
Monstro VV and Supreme

Monstro VV and Supreme

Hi

We are doing a test witht Monstro VV and Supreme and found a lot of falloff
on edges while using .9 and 1.5 on 25mm and 29mm.
Have anyone else had this issue?
Can this be due to filters?
Tried with two filter sets but same issue
(Tiffen 6x6)
Using latest build of VV
Thanks
Harcharab
 
Harcharan Singh said:
Hi

We are doing a test witht Monstro VV and Supreme and found a lot of falloff
on edges while using .9 and 1.5 on 25mm and 29mm.
Have anyone else had this issue?
Can this be due to filters?
Tried with two filter sets but same issue
(Tiffen 6x6)
Using latest build of VV
Thanks
Harcharab
Click to expand...
It looks like they may not be near rear telecentric. Filters most likely have nothing to do with illumination issues. It's the optical design choice....
 
ZEISS Supreme Primes - Guillermo Granillo, AMC discusses shooting La Nave

From Youtube...


The movie "La Nave" discusses the subject of childhood cancer. Guillermo discusses using the ZEISS Supreme Prime lenses in shooting this upcoming movie.

Shot on ZEISS Supreme Primes, ZEISS CZ.2 and the ARRI Alexa LF camera.
Cinematographer: Guillermo Granillo AMC, AEC
Director: Sebastián (Batan) Silva
Focus Puller: Adan Amalio
2nd AC: Antonio Flores
Actor: Pablo Cruz
Rental Company: EFD

 
Scarlet-w with Zeiss Supreme prime ;)
my Friend italian videomaker ;)
 
Luigi,

Your friend did an excellent job with this video. Is there a link available for any BTS info?
 
Red Salaff and FJS International is not an authorized dealer of ZEISS products in the Americas. This includes anywhere in North and South America. If you purchase from FJS, your warranty will not be honored. For a list of authorized dealers, see the dealer locator https://www.zeiss.com/camera-lenses/int/cinematography/content/dealer-locator.html

Snehal Patel
Sales Manager, Cine & Applications Specialist
Consumer Optics Business Group
Camera Lens Division
Carl Zeiss SBE, LLC
 
RED Monstro and Zeiss Supreme Primes Field Test!


From YouTube...


"Thanks for watching! A few weeks back I got the chance to run around with a RED Monstro and a set of three Zeiss Supreme Primes. These are my initial thoughts on theses new high end lenses, their visual quality and if I think Zeiss did a good job. This is by no means a technical review of the Supreme Primes, as I only had 2-3 hours to shoot. I did try to get a variety of shots in to give a bit of a feel of what these lenses can do when paired with the Vista Vision Monstro sensor from RED.

Interview shot on RED Helium 8K with Canon 24-70 2.8L II, lit with a single Aputure COB 300D, through half CTS in a book light configuration."


 
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ZEISS eXtended data Masterclass


From Vimeo...


Innovation is part of the ZEISS DNA. The new ZEISS eXtended Data technology is testament to this. ZEISS CP.3 XD and ZEISS Supreme Prime lenses offer a unique Lens Data technology to streamline the workflow on set and in post-production.
Do you know how to unlock the potential of eXtended data? If not, these tutorial videos will guide you step-by-step on how you can benefit from ZEISS XD Technology. Within the next seven episodes we will give you all the information you need to understand how to work with this new exciting technology. All tutorial videos will be updated here on YouTube.com
Stay tuned and enjoy watching!

Follow us ▹ zeiss.com/cine/social


 
Had a chance to shoot the supremes and I was blown away by how much they breathe. It’s clearly intentional but I find it an odd choice for such a clean lens. I was hoping the increase in flavor from a master prime would come more from the bokeh, color, and coatings. Sadly the shoot was not a great test of their aesthetic qualities so I can’t soeak much to that. They are wonderfully small and light though; I look forward to playing with them more.
 
ZEISS eXtended data | Tutorial #1


From Youtube...

Recording ZEISS eXtended Data with Transvideo Startlite HD-m Monitor.

In this episode you will learn how eXtended data from ZEISS CP.3 and ZEISS Supreme Prime lenses can be recorded on an SD card with Transvideo Starlite HD-m Monitor. Our product Manager will guide you step-by-step through the workflow with an ARRI ALEXA Mini camera.

[The extended Data Technology is based on Cooke/i technology]

 
NETFLIX Diablero

According to the info from Vimeo below, this new NETFLIX series was shot on the Alexa Mini and Zeiss Supreme Prime


Dir. Carl Zitelmann
DoP. Iván Hernández
Cámara: Alexa Mini
Lentes: Zeiss Supreme Prime
CENTRAL FILMS

Why the cropped style of the trailer below on vimeo, I honestly have no idea. But I posted some trailers from YouTube in a much better aspect.



Trailers from YouTube


 
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Joel Voelker said:
Had a chance to shoot the supremes and I was blown away by how much they breathe. It’s clearly intentional but I find it an odd choice for such a clean lens.
Click to expand...

I'm curious, why would that would be intentional? Or do you mean that they have a consistent amount of breathing throughout the range? From my understanding, it only seems like a flaw.
 
Harcharan Singh said:
Hi

We are doing a test witht Monstro VV and Supreme and found a lot of falloff
on edges while using .9 and 1.5 on 25mm and 29mm.
Have anyone else had this issue?
Can this be due to filters?
Tried with two filter sets but same issue
(Tiffen 6x6)
Using latest build of VV
Thanks
Harcharab
Click to expand...

I mean Monstro is larger than VV (41mm vs 36mm), so this will happen at the wide end with a number of FF lens designs (the Celere's vignette HARD at the wide end for example). That's why the Tokinas are interesting, as they are specifically designed to cover WIDER than Vista Visision, and I believe cover Monstro cleanly?
 
RED Monstro and Zeiss Supreme Primes Field Test in 8K!


From YouTube...


Repost, now in full 8K! Here's a download link to some of the raw .R3D files:
25mm: https://we.tl/t-JgzvC4HaXl (11GB)
50mm: https://we.tl/t-3vNyTApH0j (6GB)
85mm: https://we.tl/t-FYURcA7GXf (6GB)

A few weeks back I got the chance to run around Bushwick NYC with a RED Monstro and a set of three Zeiss Supreme Primes. These are my initial thoughts on theses new high end lenses, their visual quality and if I think Zeiss did a good job. This is by no means a technical review of the Supreme Primes, as I only had 2-3 hours to shoot. I did try to get a variety of shots in to give a bit of a feel of what these lenses can do when paired with the Vista Vision sized Monstro sensor from RED. Thank you for watching!

Interview was shot on RED Helium 8K with Canon 24-70 2.8L II, lit with a single Aputure COB 300D, through half CTS in a book light configuration.

Music licensed through Audio Network

Instagram: @basgoossens
My production company: www.ministryoffram.es

 
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