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I'm sure some of you are aware of this very interesting article: http://www.studiodaily.com/2014/01/dp-andrew-shulkind-on-demoing-kubricks-f0-7-lens-kit/ And here is the link to the Kubrick Collection: http://www.kubrickcollection.com/camera-package.html

Selling my Zeiss CP.2 50mm T/2.1 Nikon F Mount lens. It's in excellent, like new condition. It's a great lens, but I don't use it much anymore because I no longer do freelance work. Looking for $3300 for it (negotiable). And don't get discouraged if you're looking for an EF or PL mount - the beauty with these lenses is that you can change mounts very easily. I can email photos.

I have a set of Red Pro Primes that I have been renting out with my Red Dragon I am considering replacing- but I wanted to get the opinion of more experienced DP's - I am considering selling my RPP's for a good zoom lens. I get the feeling that people renting a Red would rather rent other lenses than RPPs. Here are some lenses I was considering buying in place of the RPP's Cooke 18-100 T3 Cooke 20-100 T3.1 Cooke 20-60 T3.1 Cooke S4i 15-40mm T2 or a set of 5 Zeiss Standard speeds T2.1 Which would you all prefer for your shoots, or would it be best just sell the lenses and rent the camera Body and accessories only. If you have other suggestions for great zooms or primes, I would love those! I would love to hear your thoughts! and insights! Thank you so much!

First off, I want to say thank you to all the people who contribute to this forum - I’ve been lurking around for quite some time without posting much. You know the old adage... “If you don't have anything nice to say, don't say anything at all”... Well, by nice I mean something that could further the discussions - but quite often I find the answers before needing to ask! Anyway, I just got myself a s16mm Arriflex SR2 (PL mount), and I'm looking into prime lens options. I have a collection of 35mm and above format primes, but none suitable for this smaller gauge (they can obviously cover it but finding a good wide/normal lens out of my collection is a stretch). I’ve read in various places that some 16mm format lenses aren't compatible - they cover it but don’t physically fit with the Arri SRII or SR1. My question; what prime lenses which cover and/or are designed for super16 are compatible with my SR2 in the wide to normal focal lengths. I'm not looking for the newest and greatest optics available, but instead some quality vintage glass with character. Old lenses from the likes of Cooke, Schneider, Zeiss, Meyer, and probably any old German or Russian knockoff's interest me. Any help or direction would be greatly appreciated.

Looking for a nice 24mm to complete my set, thank you. JF

Zeiss Compact Zoom 70-200 EF & PL mount (EF installed) Brand new condition, only used about 3 times. Comes with Duclos lenses service program thru November 2015 I've had it on other forums listed for $18,699 but just lowered it to $18,000 both mounts or $17600 EF only PM me for photos/info

I am executing a 3-minute unbroken tracking shot for a music video using a Canon 5D Mark III and a MoVI M5 house with a ring handle. The music video takes place at a house party moving from interior to exterior. Plenty of choreography in each frame and following two main characters. I want depth of field but with soft focus so as to limit the use of pull-focus. Does anybody have an specific suggestions as to what lens would be best for this criteria? I'm thinking a fixed lens like a 35mm f/1.4 Zeiss or a Sigma 30mm f/1.4 but those are my only leads. NEED HELP. Thanks.

Hi there everyone, greetings! Thought I will brief everyone on how super16 is still going popular with indie filmmakers and independent producers. 1. I shot a roadie film BOOM BOOM WALE in November last year for a director friend, is finally coming up for DI grading next week. The film was shot on a small budget. I used china balls and some practical lights for interiors and exteriors were all shot without lights. The results are good and the director is happy. 2. Am currently filming SANDRA BEDS SANDEEP on super 16 using Kodak Vision 3 stocks - 50D and 200T. My producer is a young guy who comes from television background. When we were doing pre prod he was slight apprehensive of super 16 being grainy. But I showed him some results and he loved it. He ran the numbers for both digital cine cameras and film cameras with stocks and he concluded that film turns out cheaper with good looks in built in the negative. and after that he hasn't looked back. What started as another shoestring film shot handheld turned into a full fledged feature. He hired studio spaces, built sets, got me lighting and grips package, generator vans, etc. He is satisfied with the results so far. almost 90% of principle photography is over. 3. The same producer now intends to start my second film JACKnJILL on Super 16 to be shot tentatively in Oct 2014. Earlier he was thinking of upgrading it to 35 but 16 is good he feels. It has a hell lot of character and feel.

We’re currently building and kitting out a studio, largely to be used for shooting products. We’re getting an Alexa, but are stumbling on our lens choice, mostly because the budget is not infinite. Our MUST HAVE primes are 35mm, and 50mm. We are looking at CP.2 super speeds – the cost is attractive, but more than that the speed is important – we often open up to f1.4 to knock the set background out of focus (rather than for exposure). I’m concerned about the performance of these lenses - I’ve not used them much - what are they like wide–open (T1.5)? We’re not looking at cinema projection here, TV or digital is where our shots will be seen, so I’m trying to be pragmatic. Am I worrying about nothing? Is there another line (other brands) of fast lenses that sits between Master Primes and CP.2 super speeds that I’m missing?

Preferably in PL mount, and from sellers in the UK/EU (as I'm based in the UK), though open to offers from further afield. Kind Regards, Josh

Unfortunately I have to sell these to help out a family member in need. Zeiss CP2 15mm EF mount $5150 Zeiss CP2 25mm T2.1 EF mount $4000 Zeiss Compact Zoom 70-200 EF mount $18900 Brand new condition with very little use. Comes with Duclos lenses service program thru November 2015 PM me for photos/info

I am looking to sell my set of 5 Arri/Zeiss Ultra Prime lenses which have only been used for testing and are virtually brand new. Comes with orinal Zeiss boxes and warranty. Great set with some gorgeous focal lenghts not usually found in the standard set. 16mm T1.9 28mm T1.9 40mm. T1.9 65mm T1.9 100mm T1.9 Located in Los Angeles. Thank you!

Pentacon 500mm 5.6 MC PL mount For Sale. Located in san francisco CA. glass in great shape. 65mm coverage. solid PL mount. Can work for about any camera mount. 650$$

Hey guys, We are currently selling a Zeiss Distagon S16 super speed lens, MKII, scale in feet & metric, ARRI PL-Mount, 16mm, T1.2. Let me know if you are interested or have any questions.

Hi everybody. Urgent question. I'm in the process to get Sponsorship for our documentary, we'll shoot with a BlackMagic Pocket Cam. We have 2 options for the Zoom Lenses we'll going to use: 1. Arri-Zeiss Zoom 11-110 S16mm PL Mount 2. Zeiss Compact Zoom CZ.2 28-80 T2.9 We're aware that both are great lenses. The S35 Compact Zoom would demand a Metabones Adapter, but that's no problem at all. I wonder which would you guys pick and WHY? Of course the S35 one is new, and that might be a benefit. Thoughts? Thanks, F

Anyone here using Zeiss zf.2 DSLR lenses for cinema? I'm about to order a whole set, 85mm, 50mm, 35mm, 21mm and I have a Nikon 105mm lens for macro. I am on a budget and can't afford hiring or buying proper PL mount Zeiss Cinema lenses. The Zeiss prime set will be used to film mostly music videos for the web and some corporate work 720p. I will be travelling with these lenses to other countries too, so keeping costs down makes sense. This post is just to see what other users think of Zeiss primes for film / video, and whether they can deliver as well as they do for photography.

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!