Ignacio Aguilar

I've already had the chance to try and test the first three lenses: 40-65-100mm. They are very well built, with nice markings, very robust end stops for the scales and mechanics that feel very solid. They are close in shape and weight to Panavision G-Series anamorphics, with 114mm fronts, so those used to Master Primes or S4 will feel like they are still using a spherical setup, which is nice these days with the smaller cameras we are getting used to. Wide-Open they are a bit soft and focus can be very tricky, but they are usable at T2.0 if you need to or happen to like the "out of focus" look. By T2.8 they are sharp and contrasty enough and they look terrific between T4.0 and T8.0, with T5.6 being probably the sweet-spot (as happens with most anamorphics out there), with very fine details in the image being shown and a lot of sharpness. The flares are very classic, with the blue streak line you associate with vintage Panavisions or Todd-AO 35's. I would have liked to test how they hold against windows and hot practical sources, but I barely had them in my hands for about an hour. If you use them wide-open you may notice that the bokeh is not a perfect oval, which is specially noticiable on the 100mm. You need to close a bit to get it. Maybe the T2.0 is a bit generous marking too, but nothing too dramatic. Overall they are a no brainer and they are going to be extremely popular IMHO. Mr. Kanes and Mr. Schulz from Atlas Lens Co. have done a very good job! [video=vimeo;275921198]

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Be aware that some people also refer as MK1 to the previous series of lenses, the T1.4's with the three-blade iris (see my test), which are usually known as High Speeds or "B-Speeds", cause they are in Bayonet mount (they can be put on PL mount with a hard or removable PL adapter). The T1.4's came out circa 1975 ("Taxi Driver" was among the first movies to use them because they were owned by C.Op. Fred Schuler) and the first generation of T1.3's circa 1983 already in PL mount. Problem is that Zeiss never came out with an official name for these sets of lenses. So you should check that the Mk1's you have found are actually T1.3's and not PL converted T1.4's.

Bear in mind all series of T1.3 share the same glass & optical design, the upgrades were all mechanical. So you can actually shoot with Mk1-Mk2-Mk3 as there wont be differences between the series.

Hello Matias, you can certainly shoot T2.1's wide-open and get a more than usable image. Don't know if that lenses suit your needs better or not... you should really test them together and get your own idea I think. Sometimes I prefer the Standards over Superspeeds just because they have many more focal lenghts available, but for certain situations the T1.3's maybe more desirable because they don't vignette as much and have that extra stop. I have another test of the T1.3's: [VIDEO] [/VIDEO]

Maybe you should consider too the Zeiss T2.1 Standard Primes. They perform well below T2.8 without being too vintage, but neither too sharp or contrasty. They match T1.3’s well, but they vignette more. I use the T2.1’s often to fill the missing focal lenghts of the T1.3’s, such as the 40mm or 135mm.

You'll probably find more trouble shooting at T1.3 than advantages. You can always shoot SuperSpeeds at T1.8-T2.5, give your focus puller a chance and still get a softer & lower contrast image than that of Masters and Ultras. If they are still too sharp to your eyes, you can always use a very light Soft FX or the lightest Black Promist. At T1.3 these lenses are very soft, very low in contrast and show too many aberrations for most situations. Here's a test I've just released comparing the T1.3's to the previous series of Zeiss High Speeds, the T1.4's: [VIDEO] [/VIDEO]

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USED, in VERY GOOD WORKING CONDITION -Comes with 3 motors for focus, iris & zoom control, brackets, batteries, charger, handunit, motor controller as pictured. -Comes also with DTAP power cable, three motor cables, Arri Alexa Mini driver, Arri Alexa Driver and Power Cable, Red Epic Driver, Arri 435 Driver and Power, plus original Peli Case. -Radio has been updated and serviced recently. ASKING PRICE is 6000€ (not USD), SHIPPING NOT INCLUDED. PM me or send email to info@harmonicarental.com

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​I have FOR SALE a very rare Kinoptik 9.8mm lens rehoused by Van Diemen. Mechanics are in excellent condition, as new. Glass is in very good condition, with only a minor light scratch in the front glass that doesn't show up in the images. No dust, no fungus, no internal separation. Nothing the degrades the quality. The 9.8mm is the legendary lens used by Stanley Kubrick for his extreme wide angle shots in such films as "A Clockwork Orange". This is a great opportunity to own an excellent lens already in a modern housing. PL Mount - Marks in Metric Covers Academy 35 - Red Dragon 5K HD - Alexa 2.8K Price is 3500€ Paypal fees, VAT (if applicable) and shipping at buyer's expense. Shipping worldwide, 0% VAT offered for EU VAT registered buyers. Lens is located in Madrid, Spain. PM me for details or email me: info@harmonicarental.com

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Jacek once converted for me a set of Canon K35 lenses from their original BNCR mounts to PL. He did a good job.

Hello All, Four and a half years ago I shot a small short horror film inspired by the early works of John Carpenter and Dean Cundey, ASC. The film has been very successful in the Film Festival Circuit and has earned more screenings than any previous horror short in history (up to 2017 at least). I also won several awards for the Cinematography. Now that the short is available on Vimeo, I thought that it would be nice to post and comment it here: https://vimeo.com/258269539 Please let me know what you guys think! (and here's just the teaser trailer: https://vimeo.com/92884200)

You have many more glass options with the LF than you have with the 65. Many high-end sets of lenses can be used with the LF. Don't know if it's true or not, but I was told by an ARRI representative that Roger Deakins preferred the regular Alexa XT for "Blade Runner 65" because his usual choice of glass (Master Primes) didn't have a 65mm equivalent.

Hello David, do you know if that one was shot already on Kodak stock after Agfa got discontinued? T1.4's are softer and lower in contrast to T1.3's, maybe he wanted to retain the feel of the AGFA XT while using a higher contrast stock. There's some three iris blade bokeh through "Full Metal Jacket" as well, so Kubrick didn't upgrade this lenses to T1.3 right after they came out either, though by the time of "EWS" he shot Variable Primes and T1.3's. I saw "Gloria" at a very large screen back in it's day, so so movie but the look was good.