PL Mount

  • RED - PRO 18-85mm T2.9 Zoom

    RED - PRO 18-85mm T2.9 Zoom

    RED PRO ZOOMS offer a flexible focal range alongside exceptional optical quality, giving you a lens that is both sharp and dynamic.

    • Tech Specs

       

      18-85MM

      Focal Length Range 18-85mm
      T Stop Range T2.9 - T22
      Maximum f Stop f/2.8
      Close Focus from Lens Front 27.6 inches
      Length from Front of Lens to Image Plane 6.16 inches
      Minimum Marked Object Distance 26 inches
      Maximum Format Covered Super 35mm
      Iris Drive Gear 0.8 metric module
      Angular Rotation from Infinity to MOD Endstop 271 degrees
      Angular Rotation Between End-stops 120 degrees
      Focus Drive Gear 0.8 metric module
      Zoom Scales Two opposing zoom scales
      Angular Zoom Rotation  
      Zoom Drive Gear 0.8 metric module
      Length from Front of Lens to Lens Mount 11 inches (28cm)
      Weight 4.5 kg / 9.9 lbs.

     

     

  • Sony - CineAlta PMW-F3

    The PMW-F3 inherits DNA from the F35, which has been used for years in high-end digital cinematography, as well as most of the features and file-based workflow capabilities of PMW-EX1R and EX3 XDCAM EX solid-state memory camcorders.The PMW-F3 is equipped with the newly developed Exmor™ Super 35 CMOS image sensor, PL lens mount, and SxS card for 1920 x 1080 full-HD recording. The PMW-F3 features future expandability, including RGB 4:4:4 baseband output with S-LOG gamma for external recording which means it can be used in an HDCAM-SR™ workflow. It also offers a 3D-LINK option, which allows two camcorders to be controlled simultaneously for 3D stereoscopic shooting.

     

    Highlights:

    • Exmor Super 35 CMOS image sensor
    • RGB 4:4:4 and S-LOG output features pre-installed
    • Standard PL lens mount
    • Identical recording format and media to the existing PMW-EX1R and PMW-EX3
    • Small, compact body with a very modest footprint, weighing just 2.4 kg (5 lb 4 oz)
    • About three hours’ recording can be achieved with only one BP-U60 battery
    • HD-SDI Dual-link output connector
    • Scalable external recording solution
    • 3D-LINK option
    • Affordable and “ready-to-use” solution

     

    FeaturesBenefits:
    Exmor™ Super 35 CMOS Sensor The PMW-F3 is equipped with a newly developed Exmor Super 35 CMOS image sensor which offers creative shallow depth of field, similar to that of a film camera. This sensor has an extremely high sensitivity of F11 (ISO800) with a very low noise level (an S/N ratio of 63 dB). This is a significant advantage especially when shooting in low-light conditions or at night using only ambient light.
    RGB & S-LOG Output (CBK-RGB01) The PMW-F3L/RGB now includes a scalable external recording solution. The RGB 4:4:4 and S-LOG output features are now included pre-installed. RGB 4:4:4 baseband signal output is available for external recording devices such as HDCAM-SR recorders (i.e. Sony SR-R1). A LUT (Look Up Table) function is also provided for monitoring purposes when S-LOG output is activated. The PMWF3K/RGB also includes 3G-SDI output functionality. It enables users to select Dual-link HD-SDI or 3G-SDI depending on the connecting devices.
    PL Lens Mount The PMW-F3 employs a PL lens mount that is standard for film cameras, allowing use of a virtually unlimited number of prime and zoom lenses for 35-mm film cameras. This greatly broadens the choice of lenses for a wider spectrum of creative expression. A PL lens mount adapter comes with the camera as standard. The PMW-F3 supports the Cooke/i Technology protocol, which enables the camcorder to communicate with the lens to obtain lens metadata such as focus and iris position. The ARRI LDS interface will be supported as well. This improves post-production workflow as lens metadata can be recorded onto an SxS card and brought into the post-production process.
    XDCAM EX™ Workflow The recording format and recording media are identical to the existing PMW-EX1R and PMW-EX3, and proven, high-speed, intuitive XDCAM EX workflow can be used with high reliability. This workflow offers seamless integration with leading nonlinear editing software.
    Small and Lightweight, With Low Power Consumption The PMW-F3 has a small, compact body with a very modest footprint, and weighs just 2.4 kg (5 lb 4 oz). It offers mobility, flexibility, and cost efficiency. In addition, the camcorder’s power consumption is only 24 W, and about three hours’ recording can be achieved with only one BP-U60 battery.
    HD-SDI Dual-link Output The PMW-F3 has an HD-SDI Dual-link output connector which offers 4:2:2 1080 50/59.94p uncompressed signal output as standard. By using external recording devices such as HDCAM-SR recorders, users can achieve x 2.5 natural slow-motion playback in 1080/24p mode.
    3D-LINK Option (CBK-3DL01) Another new feature of the PMW-F3 is the 3D-LINK option which is especially convenient for 3D stereoscopic shooting. Two PMW-F3 cameras can be controlled by one camera remote controller at the same time. The two cameras are connected with a special 10-pin cable that includes genlock, timecode in/out, and control line. Simultaneous control of the Iris and Focus functions of two cameras is extremely useful.
    Painting capabilities for Digital Imaging Technicians With the use of either the RMB-150 or RMB-750 controller (sold separately) hooked up to the 8pin remote connector, digital imaging technicians can make various adjustments to the look of the footage captured by PMW-F3 camera based on the needs of the DP. Adjustable parameters are shown below.
    Native 24P Recording with Slow & Quick Motion For a film look the PMW-F3 offers native 24P (SD or HD) recording and Slow & Quick Motion function also known as over and under-cranking. These features enable users to create unique ‘looks’ or special effects with slow- and fast motion images.

     

    Camera Section SpecificationsDetail:
    Built-in Optical Filters OFF: Clear, 1: 1/8ND, 2: 1/64ND
    Gain -3, 0, 3 ,6, 9, 12, 18 dB, AGC
    Imaging Device Exmor Super 35mm equivalent CMOS
    S/N Ratio 63 dB (Y) (Typical)
    Sensitivity (2000 lx, 89.9% reflectance) T11 ISO800 (Typical)
    Shutter Speed (Time) 1/32 to 1/2000 sec.
    Slow Shutter 2 to 8 frames
    White Balance Preset (3,200 K), Memory A, Memory B/ATW

     

    General SpecificationsDetail:
    Battery Operating Time Approx. 130 min (HD-SDI Dual Link ON, w/BP-U60)
    Approx. 170 min (HD-SDI Dual Link OFF, w/BP-U60
    Built-in Microphone None
    Dimensions (W x H x D) 151 x 189 x 210 mm (6 x 7 1/2 x 8 3/8 inches)
    Mass Approx. 2.4 kg (5 lb 4.7 oz) without accessories
    Operating Temperature 0 °C to 40 °C (32 °F to 104 °F)
    Power Consumption Approx. 18 W (Typical) (HD-SDI Dual-Link OFF, VF ON, LCD monitor OFF.
    Max. 24 W (Typical) (HD-SDI Dual-Link ON, VF ON, LCD monitor ON)
    Power Requirements DC 12 V (11.0 v to 17.0 V)
    Recording Format Video: HD HQ Mode: MPEG-2 MP@HL, 35 Mbps / VBR
    HD SP Mode: MPEG-2 MP@H-14,25 Mbps / CBR:
    Audio: LPCM (16 bits, 48 kHz, 2 channels)
    Recording Frame Rate HD HQ Mode: 1920 × 1080/59.94i, 50i, 29.97P, 25P,23.98P; 1440 × 1080/59.94P, 50P, 29.97P,25P, 23.98P; 1280 × 720/59.94P, 50P, 29.97P, 25P,23.98P
    HD SP Mode: 1440 × 1080 /59.94i, 50i (23.98P is converted to 59.94i in 2-3 pulldown processing).
    Recording/Playback Time HQ Mode:
    Approx. 100 min with SBP-32 (32 GB) memory card
    Approx. 50 min with SBP-16 (16 GB) memory card
    Approx. 25 min with SBP-8 (8 GB) memory card
    SP Mode:
    Approx. 140 min with SBP-32 (32 GB) memory card
    Approx. 70 min with SBP-16 (16 GB) memory card
    Storage Temperature -20 °C to +60 °C (-4°F to +140 °F)

     

    Inputs/Outputs SpecificationsDetail:
    Audio Input XLR-type 3-pin (female) (x2), line/mic/mic +48 V selectable
    Audio Output RCA phono jacks (x2), –10 dBu (47kΩ load, reference level)
    Composite Output BNC type (x1), 1.0 Vp-p, 75Ω, HD-Y or analog composite signal
    DC Input XLR-type 4-pin
    DC Output N/A
    EXT 50-pin N/A
    Genlock Input BNC (x1)
    HDMI Output A-type (x1)
    Headphone Output Stereo mini jack (x1), –18 dBu (reference level output, 16Ω load)
    Lens Remote N/A
    MIC XLR-type 3-pin (female) (x2), line/mic/mic +48 V selectable
    Remote 8-pin
    SDI Output BNC
    Timecode Input BNC (x1)
    Timecode Output BNC (x1)
    USB Mini-B/USB2.0 Hi-Speed (x1)
    i.LINK i.LINK, IEEE1394, 4-pin connector (x1), S400

     

    Lens SpecificationsDetail:
    Focal Length N/A
    Focus N/A
    Iris N/A
    Lens Mount PL mount (with supplied lens mount adapter)

     

    Monitoring SpecificationsDetail:
    Built-in LCD Monitor 8.8 cm diagonal (3.5-inch) color LCD, 16:9 Aspect ratio, Picture size 640 (H) × 3 (RGB) × 480 (V) delta sequence, Hybrid (semi-transmissive) type
  • Zeiss - Compact Prime CP.2 100mm

    Zeiss - Compact Prime CP.2 100mm

    Product Overview:

    • Interchangeable Mount
    • Full frame coverage
    • Robust cine style housing with the ability to utilize follow-focus
    • Standard focus and iris gear positions
    • Five different mounts available (PL, EF, F, E and MFT mount)
    • Consistent front diameter (except of 50 Macro)
    • Longer focus rotation and a manual focus and iris
    • Calibrated focus scales
    One of the most important aspects of a successful production is the competence and diversity of your team. Whether you’re shooting a commercial where exquisite color rendition and high contrast is important, or a tense, dramatic sequence in low light situations for a feature film, Compact Prime lenses offer you the performance you need to get the scene right. With a wide range of focal lengths, full-frame coverage, fantastic image quality, great flare suppression and precise focusing through the large rotation angle, Compact Prime lenses give you a flexible set of tools to make your film shine. With its long history in both photo and cine lenses, ZEISS is dedicated to supporting filmmakers and allowing you to benefit from the highest possible image quality in any situation.
     

    Application

    Switching between traditional film and digital PL cine cameras and HDSLR cameras is no longer an issue. The Compact Prime CP.2 lenses’ improved functionality means improved ergonomics compared to standard SLR lenses, standard housing dimensions, standard focus and iris gear positions, a consistent front diameter, a robust construction, longer focus rotation and a manual focus, thereby providing the flexibility users demand. With precision and speed - Compact Prime CP.2 lenses are the perfect tool for Independent filmmakers, professional still photographers expanding their services or large studios using HDSLR’s as a second camera for TV and feature film productions.
     

    Technical Data

    Compact Prime CP.2 Aperture Close Focus1 Length2 Front diameter Weight AOV3
    CP.2 100 mm/T2.1 CF T 2.1 to T 22 0.7 m / 2'6'' 132 mm / 5.19'' 114 mm / 4.5'' 1.5 kg / 3.3 lbs 14°

     

  • Zeiss - Compact Prime CP.2 15mm

    Zeiss - Compact Prime CP.2 15mm

    Product Overview:

    • Interchangeable Mount
    • Full frame coverage
    • Robust cine style housing with the ability to utilize follow-focus
    • Standard focus and iris gear positions
    • Five different mounts available (PL, EF, F, E and MFT mount)
    • Consistent front diameter (except of 50 Macro)
    • Longer focus rotation and a manual focus and iris
    • Calibrated focus scales
    One of the most important aspects of a successful production is the competence and diversity of your team. Whether you’re shooting a commercial where exquisite color rendition and high contrast is important, or a tense, dramatic sequence in low light situations for a feature film, Compact Prime lenses offer you the performance you need to get the scene right. With a wide range of focal lengths, full-frame coverage, fantastic image quality, great flare suppression and precise focusing through the large rotation angle, Compact Prime lenses give you a flexible set of tools to make your film shine. With its long history in both photo and cine lenses, ZEISS is dedicated to supporting filmmakers and allowing you to benefit from the highest possible image quality in any situation.
     

    Application

    Switching between traditional film and digital PL cine cameras and HDSLR cameras is no longer an issue. The Compact Prime CP.2 lenses’ improved functionality means improved ergonomics compared to standard SLR lenses, standard housing dimensions, standard focus and iris gear positions, a consistent front diameter, a robust construction, longer focus rotation and a manual focus, thereby providing the flexibility users demand. With precision and speed - Compact Prime CP.2 lenses are the perfect tool for Independent filmmakers, professional still photographers expanding their services or large studios using HDSLR’s as a second camera for TV and feature film productions.
     

    Technical Data

    Compact Prime CP.2 Aperture Close Focus1 Length2 Front diameter Weight AOV3
    CP.2 15 mm/T2.9 T 2.9 to T 22 0.3 m / 12'' 86 mm / 3.39'' 114 mm / 4.5'' 0.9 kg / 2.0 lbs 79°
  • Zeiss - Compact Prime CP.2 18mm

    Zeiss - Compact Prime CP.2 18mm

    Product Overview:

    • Interchangeable Mount
    • Full frame coverage (CP.2 18mm only APS-H)
    • Robust cine style housing with the ability to utilize follow-focus
    • Standard focus and iris gear positions
    • Five different mounts available (PL, EF, F, E and MFT mount)
    • Consistent front diameter (except of 50 Macro)
    • Longer focus rotation and a manual focus and iris
    • Calibrated focus scales
    One of the most important aspects of a successful production is the competence and diversity of your team. Whether you’re shooting a commercial where exquisite color rendition and high contrast is important, or a tense, dramatic sequence in low light situations for a feature film, Compact Prime lenses offer you the performance you need to get the scene right. With a wide range of focal lengths, full-frame coverage, fantastic image quality, great flare suppression and precise focusing through the large rotation angle, Compact Prime lenses give you a flexible set of tools to make your film shine. With its long history in both photo and cine lenses, ZEISS is dedicated to supporting filmmakers and allowing you to benefit from the highest possible image quality in any situation.
     

    Application

    Switching between traditional film and digital PL cine cameras and HDSLR cameras is no longer an issue. The Compact Prime CP.2 lenses’ improved functionality means improved ergonomics compared to standard SLR lenses, standard housing dimensions, standard focus and iris gear positions, a consistent front diameter, a robust construction, longer focus rotation and a manual focus, thereby providing the flexibility users demand. With precision and speed - Compact Prime CP.2 lenses are the perfect tool for Independent filmmakers, professional still photographers expanding their services or large studios using HDSLR’s as a second camera for TV and feature film productions.
     

    Technical Data

    Compact Prime CP.2 Aperture Close Focus1 Length2 Front diameter Weight AOV3
    CP.2 18 mm/T3.6 T 3.6 to T 22 0.3 m / 12'' 80 mm / 3.15'' 114 mm / 4.5'' 0.9 kg / 2.0 lbs 69°

     

  • Zeiss - Compact Prime CP.2 21mm

    Zeiss - Compact Prime CP.2 21mm

    Product Overview:

    • Interchangeable Mount
    • Full frame coverage
    • Robust cine style housing with the ability to utilize follow-focus
    • Standard focus and iris gear positions
    • Five different mounts available (PL, EF, F, E and MFT mount)
    • Consistent front diameter (except of 50 Macro)
    • Longer focus rotation and a manual focus and iris
    • Calibrated focus scales
    One of the most important aspects of a successful production is the competence and diversity of your team. Whether you’re shooting a commercial where exquisite color rendition and high contrast is important, or a tense, dramatic sequence in low light situations for a feature film, Compact Prime lenses offer you the performance you need to get the scene right. With a wide range of focal lengths, full-frame coverage, fantastic image quality, great flare suppression and precise focusing through the large rotation angle, Compact Prime lenses give you a flexible set of tools to make your film shine. With its long history in both photo and cine lenses, ZEISS is dedicated to supporting filmmakers and allowing you to benefit from the highest possible image quality in any situation.
     

    Application

    Switching between traditional film and digital PL cine cameras and HDSLR cameras is no longer an issue. The Compact Prime CP.2 lenses’ improved functionality means improved ergonomics compared to standard SLR lenses, standard housing dimensions, standard focus and iris gear positions, a consistent front diameter, a robust construction, longer focus rotation and a manual focus, thereby providing the flexibility users demand. With precision and speed - Compact Prime CP.2 lenses are the perfect tool for Independent filmmakers, professional still photographers expanding their services or large studios using HDSLR’s as a second camera for TV and feature film productions.
     

    Technical Data

    Compact Prime CP.2 Aperture Close Focus1 Length2 Front diameter Weight AOV3
    CP.2 21 mm/T2.9 T 2.9 to T 22 0.24 m / 10'' 80 mm / 3.15'' 114 mm / 4.5'' 1.0 kg / 2.2 lbs 61°

     

  • Zeiss - Compact Prime CP.2 25mm

    Zeiss - Compact Prime CP.2 25mm

    Product Overview:

    • Interchangeable Mount
    • Full frame coverage
    • Robust cine style housing with the ability to utilize follow-focus
    • Standard focus and iris gear positions
    • Five different mounts available (PL, EF, F, E and MFT mount)
    • Consistent front diameter (except of 50 Macro)
    • Longer focus rotation and a manual focus and iris
    • Calibrated focus scales
    One of the most important aspects of a successful production is the competence and diversity of your team. Whether you’re shooting a commercial where exquisite color rendition and high contrast is important, or a tense, dramatic sequence in low light situations for a feature film, Compact Prime lenses offer you the performance you need to get the scene right. With a wide range of focal lengths, full-frame coverage, fantastic image quality, great flare suppression and precise focusing through the large rotation angle, Compact Prime lenses give you a flexible set of tools to make your film shine. With its long history in both photo and cine lenses, ZEISS is dedicated to supporting filmmakers and allowing you to benefit from the highest possible image quality in any situation.
     

    Application

    Switching between traditional film and digital PL cine cameras and HDSLR cameras is no longer an issue. The Compact Prime CP.2 lenses’ improved functionality means improved ergonomics compared to standard SLR lenses, standard housing dimensions, standard focus and iris gear positions, a consistent front diameter, a robust construction, longer focus rotation and a manual focus, thereby providing the flexibility users demand. With precision and speed - Compact Prime CP.2 lenses are the perfect tool for Independent filmmakers, professional still photographers expanding their services or large studios using HDSLR’s as a second camera for TV and feature film productions.
     

    Technical Data

    Compact Prime CP.2 Aperture Close Focus1 Length2 Front diameter Weight AOV3
    CP.2 25 mm/T2.1 T 2.1 to T 22 0.26 m / 10'' 80 mm / 3.15'' 114 mm / 4.5'' 0.9 kg / 2.0 lbs 53°

     

  • Zeiss - Compact Prime CP.2 28mm

    Zeiss - Compact Prime CP.2 28mm

    Product Overview:

    • Interchangeable Mount
    • Full frame coverage
    • Robust cine style housing with the ability to utilize follow-focus
    • Standard focus and iris gear positions
    • Five different mounts available (PL, EF, F, E and MFT mount)
    • Consistent front diameter (except of 50 Macro)
    • Longer focus rotation and a manual focus and iris
    • Calibrated focus scales
    One of the most important aspects of a successful production is the competence and diversity of your team. Whether you’re shooting a commercial where exquisite color rendition and high contrast is important, or a tense, dramatic sequence in low light situations for a feature film, Compact Prime lenses offer you the performance you need to get the scene right. With a wide range of focal lengths, full-frame coverage, fantastic image quality, great flare suppression and precise focusing through the large rotation angle, Compact Prime lenses give you a flexible set of tools to make your film shine. With its long history in both photo and cine lenses, ZEISS is dedicated to supporting filmmakers and allowing you to benefit from the highest possible image quality in any situation.
     

    Application

    Switching between traditional film and digital PL cine cameras and HDSLR cameras is no longer an issue. The Compact Prime CP.2 lenses’ improved functionality means improved ergonomics compared to standard SLR lenses, standard housing dimensions, standard focus and iris gear positions, a consistent front diameter, a robust construction, longer focus rotation and a manual focus, thereby providing the flexibility users demand. With precision and speed - Compact Prime CP.2 lenses are the perfect tool for Independent filmmakers, professional still photographers expanding their services or large studios using HDSLR’s as a second camera for TV and feature film productions.
     

    Technical Data

    Compact Prime CP.2 Aperture Close Focus1 Length2 Front diameter Weight AOV3
    CP.2 28 mm/T2.1 T 2.1 to T 22 0.24 m / 10'' 80 mm / 3.15'' 114 mm / 4.5'' 1.0 kg / 2.2 lbs 48°
  • Zeiss - Compact Prime CP.2 35mm

    Zeiss - Compact Prime CP.2 35mm

    Product Overview:

    • Interchangeable Mount
    • Full frame coverage
    • Robust cine style housing with the ability to utilize follow-focus
    • Standard focus and iris gear positions
    • Five different mounts available (PL, EF, F, E and MFT mount)
    • Consistent front diameter (except of 50 Macro)
    • Longer focus rotation and a manual focus and iris
    • Calibrated focus scales
    One of the most important aspects of a successful production is the competence and diversity of your team. Whether you’re shooting a commercial where exquisite color rendition and high contrast is important, or a tense, dramatic sequence in low light situations for a feature film, Compact Prime lenses offer you the performance you need to get the scene right. With a wide range of focal lengths, full-frame coverage, fantastic image quality, great flare suppression and precise focusing through the large rotation angle, Compact Prime lenses give you a flexible set of tools to make your film shine. With its long history in both photo and cine lenses, ZEISS is dedicated to supporting filmmakers and allowing you to benefit from the highest possible image quality in any situation.
     

    Application

    Switching between traditional film and digital PL cine cameras and HDSLR cameras is no longer an issue. The Compact Prime CP.2 lenses’ improved functionality means improved ergonomics compared to standard SLR lenses, standard housing dimensions, standard focus and iris gear positions, a consistent front diameter, a robust construction, longer focus rotation and a manual focus, thereby providing the flexibility users demand. With precision and speed - Compact Prime CP.2 lenses are the perfect tool for Independent filmmakers, professional still photographers expanding their services or large studios using HDSLR’s as a second camera for TV and feature film productions.
     

    Technical Data

    Compact Prime CP.2 Aperture Close Focus1 Length2 Front diameter Weight AOV3
    CP.2 35 mm/T2.1 T 2.1 to T 22 0.3 m / 12'' 80 mm / 3.15'' 114 mm / 4.5'' 1.0 kg / 2.2 lbs 39°
  • Zeiss - Compact Prime CP.2 50mm Macro

    Zeiss - Compact Prime CP.2 50mm Macro

    Product Overview:

    • Interchangeable Mount
    • Full frame coverage
    • Robust cine style housing with the ability to utilize follow-focus
    • Standard focus and iris gear positions
    • Five different mounts available (PL, EF, F, E and MFT mount)
    • Consistent front diameter (except of 50 Macro)
    • Longer focus rotation and a manual focus and iris
    • Calibrated focus scales
    One of the most important aspects of a successful production is the competence and diversity of your team. Whether you’re shooting a commercial where exquisite color rendition and high contrast is important, or a tense, dramatic sequence in low light situations for a feature film, Compact Prime lenses offer you the performance you need to get the scene right. With a wide range of focal lengths, full-frame coverage, fantastic image quality, great flare suppression and precise focusing through the large rotation angle, Compact Prime lenses give you a flexible set of tools to make your film shine. With its long history in both photo and cine lenses, ZEISS is dedicated to supporting filmmakers and allowing you to benefit from the highest possible image quality in any situation.
     

    Application

    Switching between traditional film and digital PL cine cameras and HDSLR cameras is no longer an issue. The Compact Prime CP.2 lenses’ improved functionality means improved ergonomics compared to standard SLR lenses, standard housing dimensions, standard focus and iris gear positions, a consistent front diameter, a robust construction, longer focus rotation and a manual focus, thereby providing the flexibility users demand. With precision and speed - Compact Prime CP.2 lenses are the perfect tool for Independent filmmakers, professional still photographers expanding their services or large studios using HDSLR’s as a second camera for TV and feature film productions.
     

    Technical Data

    Compact Prime CP.2 Aperture Close Focus1 Length2 Front diameter Weight AOV3
    CP.2 50 mm/T2.1 Macro T 2.1 to T 22 0.24 m / 10'' 132 mm / 5.19'' 134 mm / 5.3'' 1.4 kg /3.0 lbs 28°

     

  • Zeiss - Compact Prime CP.2 85mm

    Zeiss - Compact Prime CP.2 85mm

    Product Overview:

    • Interchangeable Mount
    • Full frame coverage
    • Robust cine style housing with the ability to utilize follow-focus
    • Standard focus and iris gear positions
    • Five different mounts available (PL, EF, F, E and MFT mount)
    • Consistent front diameter (except of 50 Macro)
    • Longer focus rotation and a manual focus and iris
    • Calibrated focus scales
    One of the most important aspects of a successful production is the competence and diversity of your team. Whether you’re shooting a commercial where exquisite color rendition and high contrast is important, or a tense, dramatic sequence in low light situations for a feature film, Compact Prime lenses offer you the performance you need to get the scene right. With a wide range of focal lengths, full-frame coverage, fantastic image quality, great flare suppression and precise focusing through the large rotation angle, Compact Prime lenses give you a flexible set of tools to make your film shine. With its long history in both photo and cine lenses, ZEISS is dedicated to supporting filmmakers and allowing you to benefit from the highest possible image quality in any situation.
     

    Application

    Switching between traditional film and digital PL cine cameras and HDSLR cameras is no longer an issue. The Compact Prime CP.2 lenses’ improved functionality means improved ergonomics compared to standard SLR lenses, standard housing dimensions, standard focus and iris gear positions, a consistent front diameter, a robust construction, longer focus rotation and a manual focus, thereby providing the flexibility users demand. With precision and speed - Compact Prime CP.2 lenses are the perfect tool for Independent filmmakers, professional still photographers expanding their services or large studios using HDSLR’s as a second camera for TV and feature film productions.
     

    Technical Data

    Compact Prime CP.2 Aperture Close Focus1 Length2 Front diameter Weight AOV3
    CP.2 85 mm/T2.1 T 2.1 to T 22 1 m / 3'3'' 80 mm / 3.15'' 114 mm / 4.5'' 0.9 kg / 2.0 lbs 17°

     

  • Zeiss - SuperSpeed S16 Distagon 12mm T* T1.3 (F1.2)

    Zeiss - SuperSpeed S16 Distagon 12mm T* T1.3 (F1.2)

    Product Overview:

    • Super 16 Coverage
    • SuperSpeed T1.3
    • 80mm Diameter Front Adapter
    • 0.8Mod Focus Ring
    • Arri Bayonet (Arri B-Mount) with PL Mount Adapter
    • Imperial and Metric Focus Scale
    • Minimum Focus: 0.25m
    • Maximum Aperture: T1.3-T11
    • Weight: 0.76kg

    Carl Zeiss high speed lenses, commonly called Super Speed introduced the largest aperture available for cinematography in a coplete series, F1.2.

    The Zeiss high speed lenses had their genesis in the Planar 0.7/50mm lens commissioned by NASA in 1966.

    The Zeiss High Speed lenses were series produced in various generations from 1975 to 2004. They were replaced by the Arri/Zeiss Master Prime series in 2005.

    These are the first generation and origonal series Carl Zeiss High Speed (HS) lenses were first manufactured in 1975. Apart from the 50mm T1.3 which is a Mk.2. They were amoung the first Zeiss lenses to have the Zeiss T* multicoating, which increases contrast and overall light transmission (T-stop) and reduces flare. They were only avilable with ARRI Beyonet lens mounts. This mount had been introduced in the mid-1960's on the Arriflex 16SB, 16BL and 35II-C and was ARRI's lens mount until the introduction of the ARRI PL mount in the early 1980's.

    The HS series have housings that are designed to fit into the prime lens blimp that the Arrifles 35 BL-I and BL-II required for silent shooting. They do not have focus or iris gears, but instead use removable tabs fitted to the focus and iris rings that are ment to be actuated by rubber coated leavers inside the pime lens blimp. However these lenses have been modified so that the focus tab has replaced by a 0.8Mod focus gear.

    The HS Distagons were the first Zeiss cine lenses with aspherical elements. They incorporated a molded aspherical element that is positioned in the rear group just behind the iris.

    The 16mm set comprises of four Distagons (however we have added a 50mm later sereis lens to the set):  9.5, 12, 16 and 25mm, F1.2, all with a photometric apature of T1.3. These were the first 16mm prime lenses designed to cover Super 16mm format. The 9.5mm focal length covers the full S16 aperture, but is somewhat compromised in sharpness and illumination past the corners of N16. For this reason ARRI did not include the 9.5mm on their list of S16 compatible lenses. All the S16 Mk.1 lenses were fitted with 6-blade hexagonal iris.

    The mechanical design of the Mk.1 S16 Superspeeds was similar to the 35mm Superspeeds, but smaller. The lens mount is the origonal Beyonet design that uses a pin on the back of the lens for location and a lock ring to hold the mount in place. Front housing diameters were 70mm for the 9.5 and 12mm and 62mm for the 16 and 25mm. However these lenses have a constant 80mm outside diameter throughout via adapters to save matte box adjustments.

    All of these lenses cover the Super 16 Format. ARRI does not list the 9.5mm as covering Super 16 because it is not sharp in the corners of the S16 frame as it is in the corners of the regular 16mm aperture. Also thereis some vignetting when the 9.5 is stopped down past T8. In practice, the 9.5mm lens should have no problem working with the S16 format as long as the aperture remains T8 or wider.

     

     

  • Zeiss - SuperSpeed S16 Distagon 16mm T* T1.3 (F1.2)

    Zeiss - SuperSpeed S16 Distagon 16mm T* T1.3 (F1.2)

    Product Overview:

    • Super 16 Coverage
    • SuperSpeed T1.3
    • 80mm Diameter Front Adapter
    • 0.8Mod Focus Ring
    • Arri Bayonet (Arri B-Mount) with PL Mount Adapter
    • Imperial and Metric Focus Scale
    • Minimum Focus: 0.25m
    • Maximum Aperture: T1.3-T11
    • Weight: 0.76kg

    Carl Zeiss high speed lenses, commonly called Super Speed introduced the largest aperture available for cinematography in a coplete series, F1.2.

    The Zeiss high speed lenses had their genesis in the Planar 0.7/50mm lens commissioned by NASA in 1966.

    The Zeiss High Speed lenses were series produced in various generations from 1975 to 2004. They were replaced by the Arri/Zeiss Master Prime series in 2005.

    These are the first generation and origonal series Carl Zeiss High Speed (HS) lenses were first manufactured in 1975. Apart from the 50mm T1.3 which is a Mk.2. They were amoung the first Zeiss lenses to have the Zeiss T* multicoating, which increases contrast and overall light transmission (T-stop) and reduces flare. They were only avilable with ARRI Beyonet lens mounts. This mount had been introduced in the mid-1960's on the Arriflex 16SB, 16BL and 35II-C and was ARRI's lens mount until the introduction of the ARRI PL mount in the early 1980's.

    The HS series have housings that are designed to fit into the prime lens blimp that the Arrifles 35 BL-I and BL-II required for silent shooting. They do not have focus or iris gears, but instead use removable tabs fitted to the focus and iris rings that are ment to be actuated by rubber coated leavers inside the pime lens blimp. However these lenses have been modified so that the focus tab has replaced by a 0.8Mod focus gear.

    The HS Distagons were the first Zeiss cine lenses with aspherical elements. They incorporated a molded aspherical element that is positioned in the rear group just behind the iris.

    The 16mm set comprises of four Distagons (however we have added a 50mm later sereis lens to the set):  9.5, 12, 16 and 25mm, F1.2, all with a photometric apature of T1.3. These were the first 16mm prime lenses designed to cover Super 16mm format. The 9.5mm focal length covers the full S16 aperture, but is somewhat compromised in sharpness and illumination past the corners of N16. For this reason ARRI did not include the 9.5mm on their list of S16 compatible lenses. All the S16 Mk.1 lenses were fitted with 6-blade hexagonal iris.

    The mechanical design of the Mk.1 S16 Superspeeds was similar to the 35mm Superspeeds, but smaller. The lens mount is the origonal Beyonet design that uses a pin on the back of the lens for location and a lock ring to hold the mount in place. Front housing diameters were 70mm for the 9.5 and 12mm and 62mm for the 16 and 25mm. However these lenses have a constant 80mm outside diameter throughout via adapters to save matte box adjustments.

    All of these lenses cover the Super 16 Format. ARRI does not list the 9.5mm as covering Super 16 because it is not sharp in the corners of the S16 frame as it is in the corners of the regular 16mm aperture. Also thereis some vignetting when the 9.5 is stopped down past T8. In practice, the 9.5mm lens should have no problem working with the S16 format as long as the aperture remains T8 or wider.

     

     

  • Zeiss - SuperSpeed S16 Distagon 25mm T* T1.3 (F1.2)

    Zeiss - SuperSpeed S16 Distagon 25mm T* T1.3 (F1.2)

    Product Overview:

    • Super 16 Coverage
    • SuperSpeed T1.3
    • 80mm Diameter Front Adapter
    • 0.8Mod Focus Ring
    • Arri Bayonet (Arri B-Mount) with PL Mount Adapter
    • Imperial and Metric Focus Scale
    • Minimum Focus: 0.25m
    • Maximum Aperture: T1.3-T11
    • Weight: 0.76kg

    Carl Zeiss high speed lenses, commonly called Super Speed introduced the largest aperture available for cinematography in a coplete series, F1.2.

    The Zeiss high speed lenses had their genesis in the Planar 0.7/50mm lens commissioned by NASA in 1966.

    The Zeiss High Speed lenses were series produced in various generations from 1975 to 2004. They were replaced by the Arri/Zeiss Master Prime series in 2005.

    These are the first generation and origonal series Carl Zeiss High Speed (HS) lenses were first manufactured in 1975. Apart from the 50mm T1.3 which is a Mk.2. They were amoung the first Zeiss lenses to have the Zeiss T* multicoating, which increases contrast and overall light transmission (T-stop) and reduces flare. They were only avilable with ARRI Beyonet lens mounts. This mount had been introduced in the mid-1960's on the Arriflex 16SB, 16BL and 35II-C and was ARRI's lens mount until the introduction of the ARRI PL mount in the early 1980's.

    The HS series have housings that are designed to fit into the prime lens blimp that the Arrifles 35 BL-I and BL-II required for silent shooting. They do not have focus or iris gears, but instead use removable tabs fitted to the focus and iris rings that are ment to be actuated by rubber coated leavers inside the pime lens blimp. However these lenses have been modified so that the focus tab has replaced by a 0.8Mod focus gear.

    The HS Distagons were the first Zeiss cine lenses with aspherical elements. They incorporated a molded aspherical element that is positioned in the rear group just behind the iris.

    The 16mm set comprises of four Distagons (however we have added a 50mm later sereis lens to the set):  9.5, 12, 16 and 25mm, F1.2, all with a photometric apature of T1.3. These were the first 16mm prime lenses designed to cover Super 16mm format. The 9.5mm focal length covers the full S16 aperture, but is somewhat compromised in sharpness and illumination past the corners of N16. For this reason ARRI did not include the 9.5mm on their list of S16 compatible lenses. All the S16 Mk.1 lenses were fitted with 6-blade hexagonal iris.

    The mechanical design of the Mk.1 S16 Superspeeds was similar to the 35mm Superspeeds, but smaller. The lens mount is the origonal Beyonet design that uses a pin on the back of the lens for location and a lock ring to hold the mount in place. Front housing diameters were 70mm for the 9.5 and 12mm and 62mm for the 16 and 25mm. However these lenses have a constant 80mm outside diameter throughout via adapters to save matte box adjustments.

    All of these lenses cover the Super 16 Format. ARRI does not list the 9.5mm as covering Super 16 because it is not sharp in the corners of the S16 frame as it is in the corners of the regular 16mm aperture. Also thereis some vignetting when the 9.5 is stopped down past T8. In practice, the 9.5mm lens should have no problem working with the S16 format as long as the aperture remains T8 or wider.

     

     

  • Zeiss - SuperSpeed S16 Distagon 9.5mm T* T1.3 (F1.2)

    Zeiss - SuperSpeed S16 Distagon 9.5mm T* T1.3 (F1.2)

    Product Overview:

    • Super 16 Coverage
    • SuperSpeed T1.3
    • 80mm Diameter Front Adapter
    • 0.8Mod Focus Ring
    • Arri Bayonet (Arri B-Mount) with PL Mount Adapter
    • Imperial and Metric Focus Scale
    • Minimum Focus: 0.25m
    • Maximum Aperture: T1.3-T11
    • Weight: 0.76kg

    Carl Zeiss high speed lenses, commonly called Super Speed introduced the largest aperture available for cinematography in a coplete series, F1.2.

    The Zeiss high speed lenses had their genesis in the Planar 0.7/50mm lens commissioned by NASA in 1966.

    The Zeiss High Speed lenses were series produced in various generations from 1975 to 2004. They were replaced by the Arri/Zeiss Master Prime series in 2005.

    These are the first generation and origonal series Carl Zeiss High Speed (HS) lenses were first manufactured in 1975. Apart from the 50mm T1.3 which is a Mk.2. They were amoung the first Zeiss lenses to have the Zeiss T* multicoating, which increases contrast and overall light transmission (T-stop) and reduces flare. They were only avilable with ARRI Beyonet lens mounts. This mount had been introduced in the mid-1960's on the Arriflex 16SB, 16BL and 35II-C and was ARRI's lens mount until the introduction of the ARRI PL mount in the early 1980's.

    The HS series have housings that are designed to fit into the prime lens blimp that the Arrifles 35 BL-I and BL-II required for silent shooting. They do not have focus or iris gears, but instead use removable tabs fitted to the focus and iris rings that are ment to be actuated by rubber coated leavers inside the pime lens blimp. However these lenses have been modified so that the focus tab has replaced by a 0.8Mod focus gear.

    The HS Distagons were the first Zeiss cine lenses with aspherical elements. They incorporated a molded aspherical element that is positioned in the rear group just behind the iris.

    The 16mm set comprises of four Distagons (however we have added a 50mm later sereis lens to the set):  9.5, 12, 16 and 25mm, F1.2, all with a photometric apature of T1.3. These were the first 16mm prime lenses designed to cover Super 16mm format. The 9.5mm focal length covers the full S16 aperture, but is somewhat compromised in sharpness and illumination past the corners of N16. For this reason ARRI did not include the 9.5mm on their list of S16 compatible lenses. All the S16 Mk.1 lenses were fitted with 6-blade hexagonal iris.

    The mechanical design of the Mk.1 S16 Superspeeds was similar to the 35mm Superspeeds, but smaller. The lens mount is the origonal Beyonet design that uses a pin on the back of the lens for location and a lock ring to hold the mount in place. Front housing diameters were 70mm for the 9.5 and 12mm and 62mm for the 16 and 25mm. However these lenses have a constant 80mm outside diameter throughout via adapters to save matte box adjustments.

    All of these lenses cover the Super 16 Format. ARRI does not list the 9.5mm as covering Super 16 because it is not sharp in the corners of the S16 frame as it is in the corners of the regular 16mm aperture. Also thereis some vignetting when the 9.5 is stopped down past T8. In practice, the 9.5mm lens should have no problem working with the S16 format as long as the aperture remains T8 or wider.

     

     

  • Zeiss - SuperSpeed S16 Planar 50mm T* T1.3 (F1.2) Mk.2

    Zeiss - SuperSpeed S16 Planar 50mm T* T1.3 (F1.2) Mk.2

    Product Overview:

    • Super 16 Coverage
    • SuperSpeed T1.3
    • 80mm Diameter Front Adapter
    • 0.8Mod Focus Ring
    • Arri Bayonet (Arri B-Mount) with PL Mount Adapter
    • Imperial and Metric Focus Scale
    • Minimum Focus: 0.7m
    • Maximum Aperture: T1.3-T16
    • Weight: 0.76kg

    Carl Zeiss high speed lenses, commonly called Super Speed introduced the largest aperture available for cinematography in a coplete series, F1.2.

    The Zeiss high speed lenses had their genesis in the Planar 0.7/50mm lens commissioned by NASA in 1966.

    The Zeiss High Speed lenses were series produced in various generations from 1975 to 2004. They were replaced by the Arri/Zeiss Master Prime series in 2005.

    These are the first generation and origonal series Carl Zeiss High Speed (HS) lenses were first manufactured in 1975. Apart from the 50mm T1.3 which is a Mk.2. They were amoung the first Zeiss lenses to have the Zeiss T* multicoating, which increases contrast and overall light transmission (T-stop) and reduces flare. They were only avilable with ARRI Beyonet lens mounts. This mount had been introduced in the mid-1960's on the Arriflex 16SB, 16BL and 35II-C and was ARRI's lens mount until the introduction of the ARRI PL mount in the early 1980's.

    The HS series have housings that are designed to fit into the prime lens blimp that the Arrifles 35 BL-I and BL-II required for silent shooting. They do not have focus or iris gears, but instead use removable tabs fitted to the focus and iris rings that are ment to be actuated by rubber coated leavers inside the pime lens blimp. However these lenses have been modified so that the focus tab has replaced by a 0.8Mod focus gear.

    The HS Distagons were the first Zeiss cine lenses with aspherical elements. They incorporated a molded aspherical element that is positioned in the rear group just behind the iris.

    The 16mm set comprises of four Distagons (however we have added a 50mm later sereis lens to the set):  9.5, 12, 16 and 25mm, F1.2, all with a photometric apature of T1.3. These were the first 16mm prime lenses designed to cover Super 16mm format. The 9.5mm focal length covers the full S16 aperture, but is somewhat compromised in sharpness and illumination past the corners of N16. For this reason ARRI did not include the 9.5mm on their list of S16 compatible lenses. All the S16 Mk.1 lenses were fitted with 6-blade hexagonal iris.

    The mechanical design of the Mk.1 S16 Superspeeds was similar to the 35mm Superspeeds, but smaller. The lens mount is the origonal Beyonet design that uses a pin on the back of the lens for location and a lock ring to hold the mount in place. Front housing diameters were 70mm for the 9.5 and 12mm and 62mm for the 16 and 25mm. However these lenses have a constant 80mm outside diameter throughout via adapters to save matte box adjustments.

    All of these lenses cover the Super 16 Format. ARRI does not list the 9.5mm as covering Super 16 because it is not sharp in the corners of the S16 frame as it is in the corners of the regular 16mm aperture. Also thereis some vignetting when the 9.5 is stopped down past T8. In practice, the 9.5mm lens should have no problem working with the S16 format as long as the aperture remains T8 or wider.