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Found 3 results

  1. Hi All, I'm currently DOP for a social realism graduation film, a bit naive and a bit nervous because my approach is to experiment and shoot with the Sony F55 and 16mm Zeiss Distagon prime lenses throughout the whole of the short film. This means I have to operate with 2x crop, which isn't much of an issue because I have all the necessary primes and zoom lens to cover the shots needed, but from the camera test footage the lenses appear a bit too soft. I was intending to get a soft look, but I didn't realise how soft they would actually be. I'm not too sure if the lenses need calibrating in anyway, but I won't jump to conclusions because my knowledge doesn't go that far, however they do seem to perform slightly better in low light. My film is being filmed out on the majority of Day Exteriors, so I'm just wondering if it's worth sticking to my guns, or whether it might be best to resort to other lenses. I also have the option of using the Zeiss CP.2 prime lenses, and I'm now thinking this could be my best choice. I'm a fan of the work by Stuart Bentley on This is England 90' and I've read up and come to understand that he operated with the Arri Amira, Arri Alura zoom lenses and the vintage Canon K35 primes. I'm just wondering if anyone has any useful advice on how I could achieve a similar look to this work. I'm looking a visual references such as: Tyrannosaur (2011) Dop: Erik Wilson This is England 90' (2015) Dop: Stuart Bentley Fish Tank (2009) Dop: Robbie Ryan (The images shown in this post currently don't have a colour grade applied, this is my next move as of tomorrow) If the images don't seem to appear, check out this shareable link to a google drive file of the test: https://drive.google.com/open?id=0B67phC0DGkQYUmJEY1FtN3RHOFk Fire away at any questions if I've missed anything, or if it doesn't quite make sense. Any help would be massively appreciated! Thanks, Matt
  2. Good morning, I'm having a hard time deciding between Zeiss CP2 vs ZF.2 to use on a 5D body. Lenses are optically identical but the Zeiss representative said that differences could be seen in the bokeh (14 aperture blades with CP.2 lenses vs. 9 aperture blades in the SLR lenses) and the better stray light reduction with CP.2 lenses. How noticeable could that be? Because I do not want to compromise the quality. The reason why I am considering ZF.2 is because of the considerably smaller size and wider aperture. The smooth cine-like focus ring on CP2 is great but can it become a huge burden if used by the cameraman himself with the camera mounted on a shoulder rig? That's my biggest concern because I do not have a lot of experience in using cine-type focus rings and I do not want to make the shooting hard, compromising the quality and maybe even physically impossible. The sturdiness, build quality and features of CP2s are really great but can it cripple the cameraman if he's just operating alone and handheld? Or is there absolutely no reason to go with it if the production is more guerilla and smaller size and weigth could matter (if the quality is identical(?)) ? That response about different bokeh makes me wonder...because I liked it on the CP2 but I've never used ZF and do not have the chance to compare them. Thank you very much in advance!
  3. 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.
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