Zeiss Super Speeds Lens Review
T1.3 to just over 2 they are a bit creamy
They are pin sharp by 4
They flare more than more modern lens (but are pretty good for most situations)
There are sets available that are stripped and used because of their flaring qualities
They breath a bit more than UP and allot more than MP
They are than colder S4s and very slightly colder than UP.
There is 3 or 4 generations of the Lens and they mechanical differ between generations
They are often a bit battered as they are popular and getting old.
They are nice and small.
They are more telcentric than standards at the wide end.
They are helical driven and the threads can cause focus errors.
I believe they are relatively easy to service.
They used to be cheap then expensive now there price seems stable (for how long?)
They don't make them any more because of some health regulation on??
They have a limited range of focal lenths campared to modern lens series (only 18,25,35,50,85)
The 65mm is rare.
They have a smaller imaging circle than the lens that replaced them.
They are technically trounced in every way by the lens that replaced them (apart form cost/size)
This will make nearly no difference for most!
The flare is much nicer than the one S4s, UPs, Standards and MPs produce. Infact, I think it is the nices flare on any lenses I worked with. It's great to play with praticals in this regard.
Shot wide open they are soft but still have a dedicated focus - a bit like if there was light diffusion added - still different though, very nice for portraits.
They don't show the contrast modern lenses deliver.
They don't porthole.
Only the second gen. Mk2s and the Mk3s have full turn focus throw. The half turn models can be an extra challenge for the focus puller when shooting with shallow DOF and distances of 2-10 meters.
I'm biased. I shot in the last 15 years a lot with them and own a set. I love the ability of shooting at T1.3. They are a nice counterpoint to the RedOnes's clean, digital image.
regards
Michael L
Over all I find the two series to be very similar in look but the standards are much sharper at T2 and T2.8. Of course if you need T1.3 there isn't really a choice. I personally prefer to light up the scene rather than open up to WFO but there is definitely a look (lower contrast, very nice veiling flare) that the Supers excel at.
Beware of the 18mm Super Speed though, that lens is the softest of the bunch and requires a bit of post sharpening to match the other focal lengths, at least when projected theatrically.
Your welcome, the contrast is easily boosted in post but it's not exactly the same. There are subtle differences. Also many DPs will shoot Super Speeds and mix them with the 10, 14, 40, 100 and 135mm standard speeds in order to get those focal lengths. They are plenty well matched to do so without hesitation. The close up of the blue wall was actually shot a 135mm Standard Speed.
The questions I would ask are...
A. Do you need T1.3? If so go Supers, no question.
B. Do you need the highest resolution for projection? If so go Standards/Ultras
C. Would you prefer a low/medium/high contrast look? Then choose Supers/Standards, Optimos or S4s/Ultras or Master Primes
All of these lenses can be mixed with impunity as long as you have a reasonable expectation of some post color correction, even just Apple's Color.
They are pin sharp by 4
They flare more than more modern lens (but are pretty good for most situations)
There are sets available that are stripped and used because of their flaring qualities
They breath a bit more than UP and allot more than MP
They are than colder S4s and very slightly colder than UP.
There is 3 or 4 generations of the Lens and they mechanical differ between generations
They are often a bit battered as they are popular and getting old.
They are nice and small.
They are more telcentric than standards at the wide end.
They are helical driven and the threads can cause focus errors.
I believe they are relatively easy to service.
They used to be cheap then expensive now there price seems stable (for how long?)
They don't make them any more because of some health regulation on??
They have a limited range of focal lenths campared to modern lens series (only 18,25,35,50,85)
The 65mm is rare.
They have a smaller imaging circle than the lens that replaced them.
They are technically trounced in every way by the lens that replaced them (apart form cost/size)
This will make nearly no difference for most!
The flare is much nicer than the one S4s, UPs, Standards and MPs produce. Infact, I think it is the nices flare on any lenses I worked with. It's great to play with praticals in this regard.
Shot wide open they are soft but still have a dedicated focus - a bit like if there was light diffusion added - still different though, very nice for portraits.
They don't show the contrast modern lenses deliver.
They don't porthole.
Only the second gen. Mk2s and the Mk3s have full turn focus throw. The half turn models can be an extra challenge for the focus puller when shooting with shallow DOF and distances of 2-10 meters.
I'm biased. I shot in the last 15 years a lot with them and own a set. I love the ability of shooting at T1.3. They are a nice counterpoint to the RedOnes's clean, digital image.
regards
Michael L
Over all I find the two series to be very similar in look but the standards are much sharper at T2 and T2.8. Of course if you need T1.3 there isn't really a choice. I personally prefer to light up the scene rather than open up to WFO but there is definitely a look (lower contrast, very nice veiling flare) that the Supers excel at.
Beware of the 18mm Super Speed though, that lens is the softest of the bunch and requires a bit of post sharpening to match the other focal lengths, at least when projected theatrically.
Your welcome, the contrast is easily boosted in post but it's not exactly the same. There are subtle differences. Also many DPs will shoot Super Speeds and mix them with the 10, 14, 40, 100 and 135mm standard speeds in order to get those focal lengths. They are plenty well matched to do so without hesitation. The close up of the blue wall was actually shot a 135mm Standard Speed.
The questions I would ask are...
A. Do you need T1.3? If so go Supers, no question.
B. Do you need the highest resolution for projection? If so go Standards/Ultras
C. Would you prefer a low/medium/high contrast look? Then choose Supers/Standards, Optimos or S4s/Ultras or Master Primes
All of these lenses can be mixed with impunity as long as you have a reasonable expectation of some post color correction, even just Apple's Color.
