Prime Set Decision

Lumiere

Lumiere

Well-known member
I'm trying to get a set of primes for F3, i decided to go with Zeiss CP.2's. But my concern is which of them to get, as i 'm planning to get only the 7 of them. On the wide end i'll go with Duclos Tokina 11-16, and then the CP.2 set, 21,25,28,35,50,85,100. But today i thought maybe i should leave the 21, instead i should get 18,25,28...Between 18 and 21 there is not much, i believe i can compensate that range with 16 and 25.Which way would you go? And on the other hand 50mm has the same one with macro feature, instead of regular 50 would you get 50 macro so i have regular 50+macro feature (50 macro has different front diameter)?

Thanks in advance
 
Well, the CP.2 18mm is a T3.6 and the Tokina 11-16 is an f2.8... your Tokina is going to be faster.

My personal Zeiss ZF set is:
18,25,35,50,85,100.

I get by over 75% of the time just using the 25,50, & 85.
 
Keep in mind they are all FF lenses, your 18mm will be a 27mm on F-3. Get the Macro, can do some very cool stuff with Macro, you will wish you had it when you don't.
 
JDDalllas said:
Keep in mind they are all FF lenses, your 18mm will be a 27mm on F-3. Get the Macro, can do some very cool stuff with Macro, you will wish you had it when you don't.
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Utterly untrue. A CP.2 18mm will have exactly the same field of view as any other professional PL mount 18mm.

It is true the FF still 35mm cameras like the 5DmkII have a wider field of view for the same focal length. But focal lengths are calculated independently of field of view.

On cameras with smaller chips you need even smaller focal length to get equivilent field of views to 35mm.

For instance, the Sony PMW-EX1 has a 14x zoom with a focal length of f = 5.8 to 81.2 mm, which is equivalent to 31.4 to 439 mm on 35 mm lens.

And in specific regard to the CP.2 18mm lens - it's not a true full frame lenses - and Zeiss is upfront about it - it vingettes on full frame cameras like the 5DmkII - you can actually see the corners of the front bezel in the frame. Works fine on S35 cameras like the F3 though.


**EDIT: The fact is, if a shooter is used to thinking in terms of full frame field of views (5DmkII shooters), then yes - in transitioning to a S35 they will have to adjust to a *percieved* crop for any given focal length of lens. But this is regardless of manufacturer, and is particularly not accurate in regards to the 18mm CP.2 which isn't a true FF lens in the first place. For anyone who is used to Super35 or APSC format lens/cameras, there is no change in field of view or crop, even if the lenses being used are also able to be used on full frame cameras.
 
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If you're getting the 100mm I think it's a macro - my Zeiss ZF 100m f2.0 is a macro, and i use it as such to great effect.
 
Yeap, this is true as far as i know there is no crop factor of field of view change with CP2's and f3, they just have the advantage of covering FF. My ideal set is Tokina 11-16 on the super wide end, CP2's 18,25,28,35,50,85,100, and as 100 is a macro lens anyway i don't see any point of getting 50 macro instead of regular 50.
 
There is no such thing as "crop factor" actually, the trendy term has no purpose in cinematography. You guys seriously need to stop reading so many internet forums and the pretend DP's out there with DLSR's.
 
Cinesin said:
There is no such thing as "crop factor" actually, the trendy term has no purpose in cinematography. You guys seriously need to stop reading so many internet forums and the pretend DP's out there with DLSR's.
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Hence why I wrote "*perceived* crop" ;)
 
My bad, I thought they were FF. I read this wrong "The Zeiss Compact Prime CP.2 50mm/T2.1 Cine Lens (EF Mount) is part of the second generation of CP cinema lenses that were the first to offer full-frame 35mm coverage of large sensor DSLRs (such as the Canon 5D Mark II)"

There base is 35mm while there coverage will work with FF. "Crop factor"(relax just kidd'in) in reverse
 
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Cinesin said:
There is no such thing as "crop factor" actually, the trendy term has no purpose in cinematography. You guys seriously need to stop reading so many internet forums and the pretend DP's out there with DLSR's.
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If you're using a 35mm FF lens, lets say a 14 2.8 canon L lens, for example, in your PL mount S35 or APS-C sized camera the perceived field of view will look like a 21mm lens in a full frame body. Its still a 14mm lens in either camera, but what you get from the lens is different. That's why we have lenses like the Tokina 11-16 for PL and APS-C sensors, the Panasonic Lumix 7-15 (is this right?) for Micro Four Thirds, to allow similar wide angle views to Full Frame cameras.

Think like this: if you come from the still FF world, these lenses look different in your PL camera. If you come from S35 cinema world, everything stays the same since the measuring is the same.
 
Cinesin said:
There is no such thing as "crop factor" actually, the trendy term has no purpose in cinematography. You guys seriously need to stop reading so many internet forums and the pretend DP's out there with DLSR's.
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Come on, it has a purpose. Its just short hand for calculating the field of view for the masses using mostly still lenses.
 
Forget about FF. Its not a motion aspect. Its a fluke in the 5D.

Just think about your angle of view. Refer to the asc manual. EVERYONE who is working on a motion s35 camera should have one......
 
Real simple: a 24mm lens looks different, depending on the size of your sensor.

On a Super8 camera, it has a long or tight look, on S16mm, it looks like a medium lens, on a 35mm movie camera, it looks wide. It's really that simple, no need for further thought.
 
TimurCivan said:
Forget about FF. Its not a motion aspect. Its a fluke in the 5D.

Just think about your angle of view. Refer to the asc manual. EVERYONE who is working on a motion s35 camera should have one......
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Sony F65 and Epic Monstro (FF) will probably change that... Full frame seems like its the way the industry is heading.
 
David W. Jones said:
http://www.abelcine.com/fov/
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Thanks David.

So as the link above shows Abelcine doesn't seem to have a problem employing the term "crop factor". That's good enough for me. It's all semantics folks.

By the way, as far as I am concerned there are just as many "pretend DP's" using other cameras as DSLR's. Would be nice if the DSLR bashing that seems to be happening all over DVX these days stopped. It really is tiring.
 
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Viddovation said:
Well, the CP.2 18mm is a T3.6 and the Tokina 11-16 is an f2.8... your Tokina is going to be faster.

My personal Zeiss ZF set is:
18,25,35,50,85,100.

I get by over 75% of the time just using the 25,50, & 85.
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I was going to ask how many of them you use mostly. While I don't use CP.2 lenses, with my set I use the Tokina 11-16, 30mm and an 85mm most of the time (like 90%). I do want to add a 50mm macro because I've used one and REALLY like what you can do with it. Some of those lenses are so close, I feel I'd just move a little closer or farther for those few mm difference. But that's probably because I don't want to carry that many lenses around, and those CP.2 be heavy! :)
 
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