Porthole on zeiss standard primes

[panagiotis agapitou]

I've read some articles about the 16mm and 24mm but i'm conffused about this effect...

 

Some says it happens only if you shoot a monochrome wall ...

 

I'm going to use them on Alexa mini with the frame (1.78) cropped to 35mm film width (20.96mm)

 

It's all night shots and most of them outdoors (roads, cars etc) and stopping down the lenses may be underexpossed

 

What you think about ??

Thanks !!!

[panagiotis agapitou]

I'm trying to understand WHAT is this effect ... And WHEN it happens ...

 

Optically looks like viggneting .. right ?

 

I know it's caused by the small exit pupil's diameter that disorients the light rays .. And the digital sensors are not flat as the film surrface to capture them

 

Right ?

Edited October 9, 2018 by panagiotis agapitou

[Bruce Greene]

This effect is a bit more visible on digital cameras than the film cameras that the lenses were designed for. It will be most visible with wide angle lenses such as the 16mm. The effect will be most noticeable on a wall, but it is always there. Each camera will show this effect differently so you should test before choosing these lenses with a digital camera. I think the older Zeiss lenses will show this more than the UltraPrimes.

 

Be warned however, that UltraPrime 16mm lens has a problem with Alexa with light bouncing off the sensor, back to the lens, and back again on to the sensor. What you will see, if you have large bright areas of the image, is that there will be a "flare" in the center of the image. There is no flagging the lens that can fix this as the light sources are in the frame. The MasterPrimes are better in these situations. You can often hide this flare in post, but it isn't always easy as the camera pans or people walk through the frame...

 

Good luck!

[panagiotis agapitou]

I mean I will shot spherical on the 6:5 Anamorphic ARRIROW mode ... to be closest to the Standard 35mm format (20.96mm)

 

Just as David Mullen recomended me on that topic