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ADVERTISEMENT FEATURE ZEISS
SUPER SUPREME Zeiss has approached the new large-format camera market with its Supreme Primes. DOP Balazs Bolygo BSC, HSC shares his first impressions
he new Zeiss Supreme Prime large-format lenses have been designed from the ground up for the newer large-format
creates beautiful images in every circumstance. I’ve tested them in various scenarios: on beaches in sunset, available light in urban scenes, product shots and interviews, so far I cannot fault them. The flare I have to say has a really unique quality, contained but with a slight softer halo-like glow which is very photographic. And the bokeh, all round and even – it’s probably the nicest of the lenses I have used to date. I’ve shot the Venice in full resolution Raw mode which is probably where you notice it sticking out from the rest of the camera technology on the market. The ability of the Supreme Primes to resolve and be used at T1.5 also gives another string to your bow as a cinematographer. I’ve not observed a drop in optical resolution when using these lenses at full aperture and have to say the contrast of the lenses is consistent across the board. you would expect from a high- end motion picture lens. We’ve had them in extremely hot, sandy environments and not had an issue, also the addition of the i/ lens data protocol has helped us to track some of the more complex VFX doctored shots that I’ve done with them. BUILD The build of the Supremes is what
digital sensors in this growing but still exclusive market. They have a unique ‘personality’ and so to try and compare them with other members of the Zeiss family is probably the wrong way to see them; this is not to belittle the brand in any way but this is a new market for them. What I really like is that the lenses have a beautiful gentle roll-off on the focus while still retaining the resolution demanded by these higher pixel count cameras. They also aid achieving maximum detail in the highlights and, due to their ‘micro- contrast’ coating, help to achieve maximum tonal separation in the high to mid lows – something that I as a DOP spend most of my time concentrating on when lighting. This really comes into effect when shooting with available light in low- light environments as well as high contrast scenarios. VENICE SHOOT I’ve used these lenses on the new Sony Venice and have to say that the pairing is a fantastic cinematic combination. The colour rendition, 6K resolution and large sensor of the Venice with the ever so soft, organic quality of the Supremes
IMAGES On location with the Zeiss Supreme Primes.
More information: www.zeiss.com/ cine/supremeprime
I’VE TESTED THEM IN VARIOUS SCENARIOS, SO FAR I CANNOT FAULT THEM
DEFINITION JULY 2018
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