The CP.2 lenses are expensive, but offer some notable improvements over the standard Zeiss SLR lenses:
- 14-blade diaphragm (vs 9)
- 300 degree plus focus rotation
- Common outer dimensions (for the majority of the lenses) makes it quick and easy to interchange a lense during shooting
- T-stops
- Calibrated Lens Scales
- Lightweight
- Interchangeable mounts
Switching mounts requires a torque wrench and a test chart or calibration device to set the back-focus for the lens correctly. The first time a new mount is put on a lens, it needs to be adjusted using shims (provided.) As long as you mark the shims and keep them with the mount, the swap after that is just a mechanical change; you don't need to recalibrate each time you switch mounts.
Currently they offer PL, Canon EF, Nikon F and Micro 4/3rds mounts. They had intended to offer Sony A mount (Alpha) but he said that they just don't see that as being a factor for video applications. He did say though, that they will "possibly" offer some more mounts later in 2011.
[Wild Speculation: with Sony's NEX-VG10, and the upcoming NXCAM 35mm camera sharing the Sony E-mount, perhaps Zeiss might be considering supporting that mount in place of the A mount?]
Vimeo: Learning Lab: Zeiss Quality Lenses on 1.26.11
Note: Jump to 47:15 for the segment on the CP.2 lenses.
Rule Boston Camera
Zeiss: Compact Prime CP.2
B & H: Compact Prime CP.2 25mm/T2.9 Cine Lens (EF Mount) [$3,900]
B & H: Compact Prime CP.2 85mm/T2.1 Cine Lens (PL Mount) [$3,900]
B & H: Compact Prime CP.2 18mm/T3.6 Cine Lens (F Mount) [$3,900]
2 comments:
The lack of image stabilization and auto-focus/auto-aperture caused by failing to make any E-mount lens communicate with the body practically moots the value for most video shooting.
It really depends on what you're doing. For run and gun, handheld, news, and documentary I wouldn't go near a lens like this.
For those doing dramatic/narrative shooting, that's a different story.
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