58 ADVERTISEMENT FEATURE ZEISS
As the full-frame cinematic revolution beckons we have found a set of stills lenses that could become classic cinematography glass WORDS ADAM GARSTONE WELCOME TO CINEMA
GumGum band, so you don’t need to worry that it will mark the smooth finish of the lens focusing ring. The 85mm f/1.4 has 11 elements in nine groups, including an aspherical element for aberration correction. That’s a lot of glass, making for a chunky lens. It weighs in at 1.2kg, but all that glass is there for a reason. ASTONISHING PERFORMANCE The ZEISS Otus lenses have, simply, astonishing optical performance. None of the lenses shows any significant chromatic aberration – in fact any kind of distortion. Even the 28mm is impressively rectilinear. Centre resolution, wide open at f/1.4, is the best in class. More amazingly, even at the edge of the image circle, on a full-frame sensor, the edge resolution at f/1.4 is the same as the centre. No other lens in this price bracket can manage that. In fact, there are few lenses in any price bracket that manage that.
The Otus range consists of the 85mm f/1.4, 55mm f/1.4 and 28mm f/1.4 optics. Each is available in Canon EF mount (ZE in ZEISS-speak) and Nikon F mount (ZF.2), with aperture set by the camera’s electronics – the lenses are, of course, manual focus. The image circle covers full- frame 35mm (ie. 24x36mm) making them perfect for cameras like the RED WEAPON (HELIUM 8K or DRAGON 6K sensors) or full-frame DSLRs, as well as the current crop of S35 sensor cameras. The Otus lenses are intended to address both the high-end still photographic and cine markets. ZEISS manufactures an optional lens gear, which clamps onto the focus ring and converts it for a standard 0.8mm pitch follow-focus. You don’t need any tools to make the attachment – the all-metal ring clamps down onto the lens as you tighten its two halves together. The gear comes with a protective
y first camera was a 1931 ZEISS Ikonta. My dad bought it second-hand, and he passed it on to me when I was ten. It still works flawlessly – in fact I used it just the other day. ZEISS, it seems, builds stuff to last. That same dedication to quality oozes from the company’s modern products. The Otus range of lenses impresses from the minute you open the box. Each lens body is metal, with a detachable metal lens hood. Deep engravings on the body are finished in yellow – similar to the markings on the ZEISS-made Arri Master Primes. The only non-metallic part of the lens barrel is the focus ring – beautifully integrated with the rest of the body – which is a kind of plastic with a rubberised feel. At this price, it would have been nice to see a weather seal on the lens mount, but it’s a small quibble – in practise I have never had a problem with anything untoward squeezing twixt camera and lens.
THIS PAGE Could the ZEISS Otus trio of prime lenses become film stars?
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