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This was a test conducted a while ago but thought you might find it useful here. Compared in this shootout are the Leica Summilux-C, Zeiss Master Primes, Zeiss Super Speeds, Zeiss CP.2 Super Speeds, Canon CNE Primes, Canon K35's, Optica Elite Primes, and Luma Tech Illumina Primes. Lenses are compared wide open and at t2.8. All samples are available for download in jpeg and in R3D. Have a look and hope it's useful to you. http://matthayslett.com/salt-iii-high-speed-lens-shootout-wfo/ "Mission Statement: The purpose of this shootout was to directly compare lens sets on an identical setup. Our goal was not to “test” the lenses, rather provide you with all the info necessary to evaluate the lenses and decide what works for you. These lenses cover a wide range in affordability and availability. This shootout was never meant to prove which set is better than the other. We hope you will see that any of these lenses could be used to shoot quality material and have been for years. We attempted to get Cooke 5i’s for the test but unfortunately none were available at the time. Some of the lenses have slightly varying focal lengths so understand field of view may appear slightly different (i.e. 24mm vs 25mm, 75mm vs. 85mm). Please also keep in mind the slight differences in exposure since we were working with lenses rated between T 1.3 and T 1.5. No matte box was used to insure there was no vignetting or concealing of flares. All images have not been adjusted or corrected anyway. A white balance adjustment is all that has been made. We all know these lenses perform well closed down to a T 2.8, so this shootout was designed to push the lenses to their limits wide open. Most of the flaws visible wide open disappear once stopped down(examples will be available for download)." Projection: The below results were attained using the lens projector at Duclos lenses that is set up in it’s own room, specifically for the purpose of evaluation of optics on an even playing field. The same projector and screen were used for all lenses and the distances were maintained for the equivalent focal lengths (3′ for wide lenses, 6′ for teles). A loupe was used to determine resolution in line pairs per height and width for the Center, Field (middle) and edge of the frame based on a super 35mm motion picture frame. All of the findings below should be interpreted as applying only to the S35mm frame in which the lenses are designed to cover. Numbers are specific to each lens wide open. Lastly, although we did measure the lenses in line pairs this is an observational procedure and rather than deal with the political ramifications of publishing these absolute numbers we’ve decided to present them as they apply to the S35 sensor in the Epic and Scarlet. The data presented below is such that even measurements with a “Fair” grade will, for the most part, resolve the full resolution of the sensor. Notes: Where you see notes in the table below represent specific observations, if a field is blank that means that the lens performed average for that metric. If it was either better or worse or particularly apparent it was recorded. Perspective: Keep in mind these are purely technical numbers and do not speak to the cinematic look and quality the lenses exhibit in a real world scenario. Duclos Evaluation PDF (Click to download) Torture Test: This shot was designed to push all the lenses to the edge. If you plan on using these lenses wide open you need to view them at their worst. This test will show the differences in Resolution, CA, Contrast, Flare Characteristics, Bokeh, Breathing, Distortion, and Color Rendition. The test was performed both wide open and at T 2.8. For each focal length increase, the camera was moved back to maintain a similar frame for every lens. The test was captured with the Red Epic (5KFF, 320ISO, 23.976fps, 3:1 compression, 3200K) due to the high resolution sensor and ability to change lens mounts in a minute. Shutter speed was used to control exposure. Focus was confirmed for each lens in a 3 step process. First using the built in focus assist function, then by eye off the siemens chart, and finally confirmed on a 1080p on set monitor. All this was performed after the distance was confirmed with a tape measure. Here is a look at the test in action: Beauty Test: This test was designed for the telephoto lenses of each set. We wanted to see how each lens treats a human face both wide open and again at T 2.8. Focus was set to the left eye closest to the camera with the same three step focus confirmation. We have to give a big thank you to Stephanie from Duclos Lenses for being our test subject. Shutter speed was used to control exposure. Shot on the Red Epic (5KFF, 320ISO, 23.976fps, 3:1 compression, 5000K post adjusted). In action: Video: The video comprises both the Torture Test and the Beauty Test. It’s just shy of an hour but make sure to watch the entire thing. Hope the music makes it a little more entertaining for you! Keep an eye out for the areas highlighted below. This will give you a baseline indication for comparison. View downloads at 100%. http://www.youtube.com/watch?feature=player_embedded&v=xap3FJDcCUw Comparisons: (Wide Open) Available on website: http://matthayslett.com/salt-iii-high-speed-lens-shootout-wfo/ Conclusion: It’s safe to say the torture test is rather harsh for all of the lenses (except Leica Summilux-C and Master Primes) while all perform well on the Beauty Test. Like I said earlier this shootout wasn’t intended to pick a winner, but really to compare and contrast between the sets. As you can see in this example the Leica’s and the Master Primes come out as the most rounded of the lens sets. This test is definitely not definitive and each real world shoot has a specific need or look and varying budget. A set that works for one project may not work for the next. Download the test material which is provided in the links above and have a look for yourself (both R3D grabs and stills are available for each set). Before you make any conclusions I would urge everyone to perform their own tests if possible. Those of us who put this shootout together would like to thank all of you for taking the time to view this and hopefully you get as much out of this as we have. Visit the webpage to download all the files and 4K video: http://matthayslett.com/salt-iii-high-speed-lens-shootout-wfo/ Matt Hayslett Director/Cinematographer Los Angeles, CA. matthayslett.com

Hey all, Have a large selection of glass for sale. Asking prices are as follows: Canon 11.5-138 T2.5 zoom Super 16 format 2500 Canon 11-165 T2.8 zoom Super 16 format 5000 Canon 7-63 T2.8 zoom Super 16 format 3800 Canon 8-64 T2.4 zoom Super 16 format 3500 Century 6mm T1.9 lens Super 16 format 5000 Cooke SK4 12mm T2 lens Super 16 format 6000 Cooke SK4 6mm T2 lens Super 16 format 6000 Cooke SK4 9.5mm T2 lens Super 16 format 6000 Optex 4mm T2 lens Super 16 format 7000 Optex 5.5mm T2 lens Super 16 format 2000 Optex 8mm T2 lens Super 16 format 2500 Zeiss 16mm high speed lens set T1.3 9.5mm, 12mm, 16mm, 25mm, 50mm Super 16 format 8000 Zeiss 16mm T1.3 lens in addition to set Super 16 format 1000 Zeiss 25mm T1.3 lens in addition to set Super 16 format 1500 Zeiss 50mm T1.3 lens in addition to set Super 16 format 1200 Zeiss 9.5mm T1.3 lens in addition to set Super 16 format 500 Zeiss 8mm T2.1 lens Standard 16mm 500 Angenieux 5.9 T1.9 lens Standard 16mm 500 Zeiss 10-100 T2 Mk2 zoom Standard 16mm 2200 Will bundle for a discount. Please email kennysule@gmail.com

I'm getting ready to use a set of CP2s on a film next month, and was wondering what MB others have used with these lenses. We'll be shooting on either Epic or Scarlet. All of the CP2s we would be using have a 114mm front diameter. I was looking into the Arri MBs but can't seem to find on their site which diameters fit each MB. Thanks!

Hello everybody ! I've been looking around for some times in this forum, and recent topics about new cameras, either film or digital, with a super 8 frame size, gave me an idea. As those new cameras relaunched the interest in Super-8 designed lenses, I thought it would be cool to have some kind of exhaustive list of all interchangeable lenses manufactured for Super 8. Just to be perfectly accurate, I'm only interested here on legacy lenses that were marketed specifically for Super 8 cameras, CCTV and 16mm lenses are out of scope. Here's what I managed to find, please tell me if some are inaccurate or other are missing. Actually, I found this list raises a lot of questions, with a lot of mysterious, extremely rare lenses on which there's too few information. So let's try to make this list together the more accurate possible if you please ! Mounts are given following this nomenclature : C : C thread mount M : Leica M bayonet mount M42 : Praktica thread mount P : Pentaflex 8 mount (1) Angénieux Paris - Zoom 1.9/8-64 C - Zoom 1.2/6-80 C - Zoom 1.4/6-90 C - Macro 1.4/15-90 C (2) Beaulieu - Zoom Macro 1.4/6.9-55 C (3) Fuji Photo Film Co. - Fujinon MA-Z EBC 1.8/7.5-75 C - Fujinon SW EBC 1.8/5.5 C Isco Göttingen - Iscorama 1.8/10 C (4) Schneider Kreuznach - Variogon 1.8/8-40 C - Variogon 1.8/7-56 C - Optivaron 1.8/6-66 C/M - Macro Cinegon 1.8/10 M - Variogon 1.8/6-180 C (5) - Optivaron 1.4/8-50 C - Optivaron 1.4/6-70 C Shinsei Optical - Shinkor Zoom 1.8/6.5-65 M42 (6) Carl Zeiss Jena - Pentovar 2/8-32 P - Flektogon 2/5.5 P - Flektogon 2/12.5 P - Biotar 2/25 P - Sonnar 2.8/40 P Notes : 1. Don't know if this mount can be adapted to C. 2. Seems from the focal range like a 16mm lens, but the large aperture seems to say otherwise. Never seen one of those. 3. Made in Japan, but actual manufacturer is unknown. Could it be Bell & Howell/Mamiya ? Kowa ? 4. Actually an assembly of a Schneider Cinegon and an Isco anamorphic adapter. 5. Prototype, don't think it reached production. 6. Don't know if this lens fits standard M42 to C adapters since its rear lens protrude inside the mount in a specific way. The Kowa 1.8/12.5-75 was marketed with some Pathé DS8 cameras but is actually designed for 16mm. I found no information concerning lenses marketed with specials cameras like the Mekel or the VIC. Seems likely they were sold body only. All in all, It seems there's never been more than 20 distinct lenses types marketed for Super 8 (of only 7 brands), with about a third being easily findable. This contrasts with the hundreds of lenses made for 16mm. Looking this way, a Super-8 sized digital sensor doesn't seem really pertinent as the park of lenses available is very limited, mostly hard to obtain, and quality wise with no real advantages over its big sister other than big zoom ranges of compact size, since almost no primes were made. But now, should we include too regular 8 lenses ? Some regular 8 cameras like the Beaulieu MR8 had C-mount lenses, but it is not known, at least by my little knowledge, if they would cover Super 8. Some Bolex H-8 REX series has successfully been converted to DS-8 but their RX-type lenses are designed to only work with their matching cameras. Still it helps leading to think that regular 8 lenses can cover Super-8. Another example of successful conversion is the factory made Pentaflex DS8. The Ercsam Camex cameras, also in regular 8, had their own kind of mount which I don't know if they're adaptable to C. All other 8mm cameras with interchangeable lenses have a D-mount, with a too short focal flange to be adapted. In another way, I don't think the extremely few Arri ST modified for DS8 had special 8mm lenses made for them, it seems more likely they just had classic 16mm lenses. Now, I'm calling for your knowledge, hoping to discover some lenses I didn't see ! Best regards, Tom

Please see my link below - http://www.ebay.co.uk/itm/300956658032?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649

Hey, I´m selling three Arri Ultra 16 Primes, all in excellent condition. http://www.ebay.de/itm/190880216668?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1558.l2649 Thanks for watching! Best .t

Hello everyone, I have been trying to find some information concerning this lens: Arriflex standard mount, zeiss standard speed 16mm (for 16mm, this is planar) f2: does it cover super16? Thanks!

For sale in NYC: Zeiss T2/50mm Standard Speed MKII PL lens [super 35 / 4K] http://toddsines.com/sales/zeiss50standard/ Optically flawless lens, smooth action, wear on housing but works great. Imperial markings, Arri rear & front lens caps $4,500 Bank transfer / Chase QuickPay / local cash payment preferred; Thanks Todd

I'm using some rented Zeiss Super Speeds (T1.3) on a film I'm shooting on a Red Scarlet. When I tested them at the rental house everything seemed perfect, however now that I am using them outdoors I've found that when I stop down in bright sunlight (or any sunlight really) I can see the iris closing, leaving a kind of pale spot in the middle of the frame. Any advice would be greatly appreciated!

PROJECTORS AND LENSES KODAK ANALYST II projector with 25mm lens http://16mmdirectory.org/marketplace_items/133 KODAK ANALYST (first generation) projectors with 25mm and 38mm lenses http://16mmdirectory.org/marketplace_items/134 EASTMAN 25C projector http://www.16mmdirectory.org/marketplace_items/81 BELL & HOWELL 566T MARC 300 Projector with extra lamps http://www.16mmdirectory.org/marketplace_items/132 ISCO 35-65mm f1.3 zoom, 52mm collar, 42.5mm barrel http://www.16mmdirectory.org/marketplace_items/97 38mm f1.5 projector lens, 52mm barrel diameter (Bell & Howell, Bauer) http://www.16mmdirectory.org/marketplace_items/129 .75-1.25x Sankor zoom converter projector lens, for 52mm barrel lenses http://www.16mmdirectory.org/marketplace_items/130 KODAK PAGEANT projector parts Pageant pressure plate assembly http://www.16mmdirectory.org/marketplace_items/67 Pageant pressure plate springs http://www.16mmdirectory.org/marketplace_items/66 Pageant shutter drive belt http://www.16mmdirectory.org/marketplace_items/68 Pageant spring belt http://www.16mmdirectory.org/marketplace_items/72 Pageant motor drive belt http://www.16mmdirectory.org/marketplace_items/73 EDITORIAL MISC PERF-FIX Sprocket Repair Machine http://www.16mmdirectory.org/marketplace_items/131 HOLLYWOOD FILM COMPANY 1200' split reel http://www.16mmdirectory.org/marketplace_items/32 HOLLYWOOD FILM COMPANY rewind reel shaft core adapter http://www.16mmdirectory.org/marketplace_items/85 MIER-HANCOCK carbide blade http://www.16mmdirectory.org/marketplace_items/48 CAMERA MISC ZEISS 25mm T1.3 mk1 Super Speed Prime http://www.16mmdirectory.org/marketplace_items/128 BIRNS & SAWYER 4x5.65 Matte Box http://www.16mmdirectory.org/marketplace_items/96 ECLAIR NPR magazine, two-piece pressure plate http://www.16mmdirectory.org/marketplace_items/102 Camera case for Aaton LTR/XTR http://www.16mmdirectory.org/marketplace_items/94 Magazine case for Aaton LTR/XTR http://www.16mmdirectory.org/marketplace_items/95 ANVIL accessory case http://16mmdirectory.org/marketplace_items/135 BOOKS AND MANUALS http://www.16mmdirectory.org/marketplace/books-manuals CONTACT: a@alainletourneau.com

Hello, I am in the market for a PL prime set. especially a re-housing of k35/zeiss/contax/cooke/leica etc. Cineovision spherical would be ideal. hit me up if you have any PL re-house vintage prime lens sets FS! thanks

Hello Everyone, I'm doing some research to get the best option quality/price for DSLR cinematography lenses. Zeiss CP2 looks great but they are quite expensive for my budget. But I found this Zeiss SLR lenses on their cinematography section http://lenses.zeiss.com/camera-lenses/en_de/cine_lenses/slr/slr_lenses.html So here are my questions: Has someone already used this SLR lenses? Is there a big difference with the CP2s? Are any other good options (on other brands) similar than those? Thank you very much !! Greetings from Ecuador !

Zeiss 25mm T1.3 Super Speed Prime Lens in Arriflex B Mount (Mark 1 version) $1250 + shipping Lens is fully serviced. Glass front and back is clean, no fungus, scratches 
or pits. Iris and focus rings turn smoothly. 80mm delrin front. Includes a delrin 
focus gear if interested, otherwise has oringinal Arriflex focus ring tabs. PICTURES AND MORE INFO: http://www.16mmdirectory.org/marketplace_items/128 Contact a@alainletourneau.com

https://vimeo.com/59642343 Used Equipment: Canon C100 Zeiss CP2 18mm/35mm/85mm “A human being is only breath and shadow.” – Sophocles This quote from Sophocles inspired me to shoot this short film. It was a really nice experience to work with Canon C100. I pushed the ISO up to 4000 because i wanted to see how much noise will be generated. Of course there is some grain in the picture but the low light ability of the Canon C100 is still amazing. Working with the Compact Prime Lenses was uncomplicated. The Magnifier Button, which operates also during recording is an amazing tool. The form factor of the C100 is very handy and you are able to make your shots in a quick and comfortable way.

https://vimeo.com/58725919 Hi i hope you like my little funny unboxing Video :-)

http://www.ebay.co.uk/itm/300811589379?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649 5 ZEISS PRIME LENS SET FOR SALE - IMMACULATE 18mm F4, 25mm f2.8, 35mm 2.8, 50mm f1.7 & 85mm F2.8 All the lenses for sale here are in fantastic optical and cosmetic condition. ALL PICTURES ARE OF THE ACTUAL LENSES FOR SALE. All focus rings are very smooth and all aperture blade are clean, do not stick and oil free. There is no internal dust and no fungus present whatsoever. All lenses are contax mount and come with adapters and back caps for mounting to Canon mount cameras. Each lens comes attached with a geared focus ring with 0.8 cine pitched teeth for use with any cine follow focus, ARRI FF4 etc. Will also include the orginal back caps for the contax mount. This immaculate lens set is perfect for using on the new RED SCARLET, Canon 5d MK iii, Canon 5d MK ii or Canon 7d for shooting moving image. I have personally had fantastic results with these lenses on both aps-c and full frame sensors. Please see this website for technical details and reviews of each lens - http://www.pebbleplace.com/Personal/Contax_18mm_F4_Distagon.html I have used these lenses and taken great care of each them in the process. To see some of the work I have shot using these lenses please go to www.ianforbes.co.uk These lenses have never been rented out, they have been my personal lenses for the last year and a half. I am selling this prime lens set because I have been accepted into the UK National Film and Television School to do the Cinematography MA. – INSURED SHIPPING TO MAINLAND UK – £120.10 – INSURED INTERNATIONAL SHIPPING - £200.00