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Showing results for tags 'zeiss superspeeds'.
Hi yall. As title says, I have a couple Superspeed singles available, for those of you who need to replace a broken lens, complete a Superspeed set, or maybe complement a set of Standard Speeds. 25mm T1.3 Mk2 Superspeed: Has some scratches on outer surface of the rear element, but in testing the lens out I have seen no effects on image quality...the lens is still sharp as heck. Only thing that can really be seen in terms of effects is some diagonal streak effects to the flare when a light is shone directly towards the lens. That's it. If you want to get the lens back to 100%, Duclos has some rear elements in stock for 25mm Mk2's, and they quoted me $1500 plus $150 for installation and re-collimation. Aside from these issues with the rear element, the rest of the glass is perfect. Focus ring is starting to get a little stiff so it could use a standard lube job eventually, but it's plenty usable as is for now. 85mm T1.3 Mk2 Superspeed: Optics are pretty much perfect. No problems with the glass whatsoever. Focus ring is quite stiff however, so it could use a standard CLA. Ridiculously sharp lens, tested it out on my Z6 and it's easy to see why it's so loved. Prices: 25mm Mk2 Superspeed: $9000 85mm Mk2 Superspeed: $10000 All prices include shipping and paypal fees. Pics:
Hello, I am considering selling my Aaton xtr prod. it has been serviced from scratch at cinefacilites in Amsterdam, and it is in fantastic condition. Pm for photos, I am only willing to sell it in Europe ( shipping internationally would be too much of a hassle, it s a big case ). 15K eur, OBO I also have two Zeiss superspeeds s16 ( 12 and 16mm ) if you are interested. Sold separately. Location : the Netherlands Best Kimon
At the beginning of September I had the chance to shoot a series of commercials for Leroy Merlin in Spain. We shot 4 x 20" commercials + 1 x 30" in a couple of days in a house on the outskirts and I had to create all the light. I've to say that I learnt a lot during the process because the director, Amar Hernandez, wanted a very particular look.. with the light mimicking the sunlight entering into the rooms in a really imperfect way.. and even though we couldn't do that at the end he definitely changed the way I look at light now. I don't know how to describe it but I started to see patterns in light and I started being aware of how light creates shadows on objects and people, specially faces. This might sound very silly because I already knew how light worked, I've been seeing light and shadows since I was born :D but I wasn't applying it to the way I was working and I was definitely discriminating images or ideas. Since I met him, I have been applying it to my lighting ideas and I really think that I am a better photographer now because of him and how he directed me towards something that I didn't know that was there! We wanted to use the Alexa LF for this project mainly because there are some objects in the commercial and we wanted them to be more isolated. However, we didn't use it because we found out that the LF sensor had a problem (you can see the stitching line in the middle of the image) and we went for the Alexa Mini. Anyways! Enough with the backstory! Here is the director's cut of the commercial. Leroy Merlin - Procrastrinación 1) The living room is lit with a M90 coming from outside and a joker leko in the interior to create the shadows on the floor. 2) The bathroom is lit with 2 Aladdin LED panels on the ceiling, a M18 outside the window and a Joker Leko pointed towards the sink for no reason other than "I like it" B) 3) The bedroom at night was lit with a couple of blondes with CTB outside and a Celeb on top of them, 4) The bedroom during day time was lit with a M90 (that you can see) outside the window. 5) The cat (which is the shot that I love the most) was lit with a pocket par to create the flare in camera and a 575W flagged to create the shadow. 6) The girl in the room is lit with a M90 from outside.. I wanted the pattern on the wall to be more prominent but it was impossible for us to make it harder.. and when we finished shooting that part my gaffer moved the head of the light to switch it off and created a mega hard shadow on the wall that we all saw and loved but we couldn't reshoot because we didn't have time to do so. And that's pretty much all! When they did the colour grading I was in Mallorca working but they were super kind and sent me some frames for me to take a look at it. Even though I think that the saturation is a bit high and the shadows are super lifted (We created images with more contrast and not that saturated) I think that it looks good! We shot on Alexa Mini + Zeiss Superspeeds @3200 ASA I hope you like it as much as I enjoyed shooting it! Have a lovely day!
Hey there, I own a Black Magic Pocket Cinema Camera with a Metabones Speedbooster on it. Now I am a lucky man, because I am able to get my hands on a set of Zeiss Superspeeds Mark 1 & 2 glass, which I would love to use on my BMPCC for shooting fiction films. I know it is possible to buy a PL mount for the BMPCC MFT mount to PL, but how does this work with the Speedbooster in between? The speedbooster converts the MFT mount to Canon EF, and reduces the crop factor to 1.7. Would it work nicely if I just buy a EF to PL mount adapter now and put that on my speedbooster? Or would this create focus issues? How could I make this work? Thanks for your help in advance! :) Cheers, Twan