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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

MIRAME - Interview with DOP Serguei Saldivar AMC


By ZEISS Cinematography




Published on Feb 26, 2019
Watch cinematographer Serguei Saldivar, AMC give insights to MIRAME shot on RED Monstro VV, ZEISS Supreme Primes and ZEISS CZ.2.

Serguei Saldivar: www.sergueisaldivar.com

For more info ▹ zeiss.com/cine/supremeprime
Follow us ▹ zeiss.com/cine/social
 
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Zeiss Supreme Primes - Working with the Sony VENICE Demo Films




Balazs Bolygo BSC, HSC, aerial camerman Jim Swanson and aerial DoP Jeremy Braben, Associate BSC discuss working with the Zeiss Supreme Prime and Cinema Zoom lenses shooting Full Frame for "Shadow", "You Own the Truth" and "Illuminating London" on the Sony VENICE.




Introducing the new Sony VENICE extension system


By Mysonyprofessional





Published on Feb 15, 2019
Behind the scenes with the new film from DoP Balazs Bolygo BSC, HSC. He has been working with the new Sony VENICE Extension Unit along with Director of Photography Jeremy Braben, Associate BSC and aerial cameraman Jim Swanson. Together they have captured extraordinary noise-free images whilst shooting London at night from a helicopter. Discover more about what VENICE can offer here: http://bit.ly/2SBtusi #SonyVENICE #Shotoncinealta



The Video

You Own The Truth' - Shot on VENICE


By Mysonyproffesional




Published on Feb 20, 2019
This short music video was shot by talented cinematographer, Balazs Bolygo, BSC, HSC. Working with the new Sony VENICE extension unit, Balazs was able to achieve multiple set-ups, working handheld in confined spaces and on a new stabilised remote dolly.
Discover the new VENICE Extension System: http://bit.ly/2BIZDDB
Grading: Leading colourist Asa Shoul from Warner Bros De Lane Lea
Director of Photography: Balazs Bolygo, BSC, HSC
Director of Photography for aerial shooting: Jeremy Braben, Associate BSC
Aerial cameraman: Jim Swanson
#SonyVENICE
 
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By VMI


Zeiss Supreme 50mm | T2.5 | 2.35:1 | 3:2 | 6K | VMI Lens Test




Zeiss Supreme 50mm | T2.5 | 18:9 | 3:2 | 6K | VMI Lens Test




Zeiss Supreme 50mm | T2.5 | 2.35:1 | 4:3 | 4K | VMI Lens Test





Zeiss Supreme 50mm | T2.5 | 18:9 | 4:3 | 4K | VMI Lens Test




Published on Mar 5, 2019
VMI hosted an Anamorphic and Large Sensor Event at CVP's Creative Experience Space, on Newman Street, Fitzrovia, London.

As part of this event we created a set of demonstration films as a comparison of popular anamorphic, and full frame lenses. Each shot was designed to show the differences in bokeh, DoF, levels of detail, and skin tone rendition. We also included some examples of anamorphic flare in other videos.

The camera used was the Sony Venice. We shot in both 6K, to allow for full frame 3:2 spherical capture, and 4K for the 4:3 anamorphic geometry. The camera was set to 500 ISO, 3200K, and captured at X-OCN LT.

The lighting was also at 3200K and consisted of
1x Gemini,
1x Sumo
2x 150w Dedo lamps.

Where possible the exposure was set to T2.5 on a Sekonic meter with no reference to histograms or other exposure aids.

LENS:
Zeiss Supreme 50mm
T-Stop: 2.5

CAMERA:
Sony Venice


GRADE:
Rec709
 
Zeiss-Supreme-25mm-T1-5




By Geoff Boyle






Zeiss-Supreme-25mm-T4



By Geoff Boyle






Zeiss-Supreme-50mmT1-5



By Geoff Boyle







Zeiss-Supreme-50mm-T4



By Geoff Boyle



 
Home Office - Fire Kills






By Carl Burke

Due to "Privacy" settings, I can only provide a link to the video on Vimeo.




https://vimeo.com/325533384?cjevent=e5b2a9314c5611e9810b00760a24060b




Director: Ross Cooper - One in Three
Production Co: Friend
Producer: Sorcha Bacon
Agency: FCB Inferno
Steadicam/Trinity: Andrew Fletcher
Post/Grade: Framestore
SFX: Artem
Format: Red Monstro / Zeiss Supreme Primes
 
Mounts: These are designed for 52mm flange depth/backfocus. So although they will be offered in LPL and EF mount, these were not designed for LPL mount, so there is no benefit to using LPL. My personal opinion, but i'm not sure why anyone would order these in LPL because the Arri LPL to PL mount adapter is super solid and having the lenses in PL would make them backwards compatible to the countless PL cameras for the foreseeable future.

Sorry to jump in, but me as an owner of both Arri Alexa LF and Zeiss Supreme Prime set, i think it might have no optical advantage to have the lens in LPL, but Mechanical wise it would be good to have the lens in LPL because as you all know the behind the lens Arri FS Filters For LF is based on LPL so each time you want to put a filter you have to remove the LPL to PL Adapter which i think thats not make seance. Also if as Arri says that the LPL LDS2 is a faster communication port and there is no need for lens calibration after turning the camera off so it may be adaptable to /i in the future and would be another reason for having LPL on SP!
 
【Shot on 8K RAW】感受RED 8K RAW，感受电影机的魅力



By
Colorbee Photography 彩蜂摄影生活杂志



RED Monsto + 安琴45-135mm T3.0
RED Gemini + SP 35mm + SP 85mm
摄影棚RED器材：Dragon Image Australia
摄影技术支持：Timeline Film Australia / 悉尼影元素
声音后期：MUCUS 丁叔

欢迎订阅：
《墨尔本彩蜂摄影》公众号：cbphotography
e-mail: info@colorbeephotography.com
 
Kylie Hazzard tells us about the new ZEISS Supreme Prime Lenses today



By Student Filmmakers



ZEISS Kylie Hazzard Tells talks with us from the ZEISS Booth today about the new ZEISS Supreme Prime Lenses
 
Fashion Film 004



By Wolfcrow


Published on Apr 14, 2019
Camera guides, filmmaking and cinematography courses:
http://wolfcrow.ontraport.com/tl/8

What's in my camera bag:
http://wolfcrow.ontraport.com/tl/9

Find gear on Amazon:
https://www.amazon.com/shop/wolfcrow/

Find gear on B&H:
https://bhpho.to/2N3Na21

My fourth fashion film. I need to make one a year to let off some steam!

This one is inspired by the elegance of Norman Parkinson and the bold colors of Hans Feurer. I believe the objective of a high fashion film is to take you to a different time and place, the clothes being the standout feature. I'm pretty proud of the work put in by model Zorica, stylist Umesh, Johann (makeup) and Shree (hair) in such limited time (they had only 7 days notice).

This film was the most complex and toughest to pull off. We had to finish 6 looks and 25 setups over one long 14-hour day. The locations and lighting changed with every look, so I don't have to tell you how tough this is to pull off.

It would not have been possible without the dedication and hard work of cinematographer Siva, data wrangler Rehan (3.5TB of Arriraw!), gaffer Minnat and most importantly, EP Superman Shrey.

Everything good about this video is through the efforts of my crew. Everything else is my fault!

I will be publishing the lighting breakdowns and tutorials in the Beginner's Guide to Lighting for Film: http://bit.ly/2GmTuju

Gear used:

Arri Alexa LF and AKS. Watch my review here: https://www.youtube.com/watch?v=36SgN...
Zeiss Supreme Primes
GFM Dolly, Jib and Slider
Sony OLED monitor
Atomos Shogun
TV Logic on-camera monitor
C-Motion Wireless Follow Focus
OConnnor Tripod and Head

Software:

SFX by freesound.org
Edited and Graded on DaVinci Resolve 15 by yours truly. I'll publish a separate grading video to members of Wolfcrow Membership Perks: http://wolfcrow.ontraport.com/tl/8

Links can be to our affiliates and we might get paid a commission for any purchases you make. Please support wolfcrow and purchase using these links. It won't cost you extra.
 
Achmea | Farm insurance - DIRECTOR/DOP





By Jake Ward





A TVC I shot and Directed for Achmea insurance.
Tech Stuff:
Camera: Arri Alexa Mini
Lens: Zeiss Supreme Primes
 
Zeiss Supreme Lens Test: Part 1




By 2D House




In this video we do a quick test of the current offering of 5 focal lengths for the Zeiss Supreme Primes. This is part 1 where we pan left to right to look at edge details and overall distortion. Not meant as a super scientific test!

Shot on Red Monstro at 8K. Dragon Color 2, Red Gamma 4.

Thanks to Mat Barkley, Alex Clark and Simon Sealy for their help with this test!

Check Out Our Website: https://2dhouse.com/

Follow us on Instagram: http://www.instagram.com/2dhouse

Facebook: https://www.facebook.com/2dhouse/
 
Talking Cinematography: Amy Vincent ASC



By ZEISS Cinematography



In this episode of "ZEISS presents: Talking Cinematography" cinematographer Amy Vincent ASC talks about choosing the right lens for the story, the ZEISS Supreme Primes and large format cinematography as well as finding the creative path.
 
Marianne



By lalodelacerda



Marianne is a freediver, model and uwphotographer who dives in the sacred Cenote "Azul Xibalba" in the Riviera Maya of México. There is something down there that attracts you, seduces you, gives you peace and makes you not forget the respect towards mother earth.

Filmed on Red Monstro 8k with Carl Zeiss Supreme Primes 25mm T1.4

Equipment provided by FILMARED.
 
Tous - ‘Stay tender’ ft. Emma Roberts




By Uri Barcelona


Zeiss Supreme Primes are shown in the parts of the video that don't show Emma Roberts



Dir: Diana Kunst
Prod: O Estudio Creativo

ALEXA LF
ZEISS Supreme Prime Lens Set

(Emma Roberts)
ALEXA LF + Sigma FF HighSpeeds T1.5
Bolex 16mm (Kodak v3 500T 7219) + zoom
235 VideoIVS (+ zeiss STD MK1)
 
Hello guys lots of nice and interesting content here.
I'm having a shoot with the Supremes coming up and I can only get 25mm~100mm as the wider ones aren't out yet. I have some choreography shots that will need to go quite wider. Will the 12mm Ultra Prime be a good match in terms of character to bring along?
Thank you.
 
I assume you are shooting s35? If you are there is perhaps not the compelling reason for using supremes if you need wider than 25 in the arsenal? If you are shooting vistavision/FF then 25mm is actually pretty wide and I’d recommend looking at sigmas 20mm and 14mm or Tokinas 18mm...to work in some wide options. If you jump from a supreme 25mm on a FF chip to a ultra 12mm on s35 it will not always be a insignificant jump in feel... The ultra 12mm is pretty soft... however if you are shooting s35 then ultras will compliment ok!

Ps ARRI also has the 18mm out already in the Signatures which is fantastic.. not the same look but probably a better match.
 
Michael Lindsay said:
I assume you are shooting s35? If you are there is perhaps not the compelling reason for using supremes if you need wider than 25 in the arsenal? If you are shooting vistavision/FF then 25mm is actually pretty wide and I’d recommend looking at sigmas 20mm and 14mm or Tokinas 18mm...to work in some wide options. If you jump from a supreme 25mm on a FF chip to a ultra 12mm on s35 it will not always be a insignificant jump in feel... The ultra 12mm is pretty soft... however if you are shooting s35 then ultras will compliment ok!

Ps ARRI also has the 18mm out already in the Signatures which is fantastic.. not the same look but probably a better match.
Click to expand...

Thank you for the reply Michael. I'm shooting on S35 indeed. The Supremes are fixed and it's a 6-set (25mm to 100mm are the ones they have) and don't have a choice for changing the whole set. The 15/18 won't be out till 2020 and the 21 till later this year. The shoot is in 3 weeks. I don't feel particularly restricted with the 25mm for most of the shots but there is a big part of choreography with several people in a closed factory space which would benefit a lot from the angle of view that a 12mm~16mm would give. I don't think I'll be missing much the 16~25mm that's why I was leaning towards the 12mm Ultra. I do own a Contax Zeiss set with both the 18 and 21 which are a great match to the Supremes but they are on EF (couldn't get the Supremes on EF).
Below it's an image of an almost identical set and situation, filmed with the 12mm Ultra Prime on a S35 camera. I guess I could do with a 16 or 18 but the 25mm will be quite restrictive.
30jMC6F.jpg
 
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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...
 
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