So what makes these lenses special? Everyone knows that they are based on hand selected ZF/ZE SLR glass. First, these are super-speeds. No, not quite the T1.3 lenses of the high end Zeiss Master Primes, but no where near the price of those lenses for that extra 0.2 T rating. Still at T1.5 for the 35mm and 85mm that's really great speed. The 15mm is rated at T2.9, but if you're shooting with that lens you don't get the option of selective focus anyway.
Why T ratings instead of f-numbers. The T stands for transmission. In the film days they needed to know exactly how much light was hitting the film stock. A T rating takes into account the optical efficiency of the lens, whereas the f-number mainly has to do with the size of the mechanical aperture. For instance, a lens with a f/1.4 rating may have a T1.5 or even T1.9 rating, depending on the design of the lens. Now days with video preview it's not quite as important, but it does allow you to switch lenses and know that you're getting the exact same exposure at the same T ratings. That can't be said for trying to trust f-numbers. I bare witness to that. Here's the wikipedia link to explain it in more brain bending detail that you probably need to know.
The Zeiss CP.2's also come with a fixed gear on both the focus and aperture barrels. This is obviously a much more solid solution in my experience than trying to mount plastic gears to SLR lens. Notice how the barrels are well marked for distance? Again, a carry over from the days of film when you had to measure focus distance with a tape measure and hit those marks. Now days I mostly use video assist and peaking to hit focus. However, the amount of rotation that's required to pull focus is much more vast than any SLR lens I've used. To go from minimum distance (say 3 feet) to infinity is a 300 degree turn on the CP.2. Normally on SLR lenses that's about 120 degrees. On my Zeiss 21mm ZF.2 it's about 1/100th of a turn to go from 2 meters to infinity! The increased focus rotational resolution makes it a lot easier to hit subtle focus. At the same time if you need to do a long focus pull you'll need a speed crank on your follow focus. There's pluses and minuses.
The long rotation on the aperture is also an improvement over the SLR lenses. On a de-clicked ZF.2 lens you have to fiddle with the aperture ring to try to achieve 1/4-stop increments. On the CP.2 this is no problem. 1/10th stop resolution adjustments?...No problem. Need to do an aperture adjustment mid shot? Again, no problem. The aperture ring is well damped, just like the focus ring. Also, because the aperture ring is geared you can use a FIZ controller while the camera is up on a crane and adjust aperture without having to bring the camera down. How many time I've wished for that!
The CP.2's have switch-able mounts. So if you need to mount them on a PL camera, like the Red, Arri, or high-end Sony, we have you covered. In the FS-700 photo above the E-mount has been installed. There's also the EF-mount, F-mount, and micro four-thirds mount available from Zeiss. Call the shop to see which mounts are currently available. We'll have the lenses converted before you pick them up.
The final feature that I can think of is the consistent mechanical dimensions of the lens. Except for the 50mm macro, the rest of the lenses have a consistent front diameter, length, and placement of the focus and aperture rings. That makes lens changes much easier in the field. I personally have to compensate for the distance discrepancies with my ZF.2's by using the Vocas fabric donut at the back of my matte box, but that doesn't always work well with lenses whose front elements extend out as you focus.
If you're interesting in renting the lenses please call Michael at the shop.
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