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Zeiss superspeeds T1.3 vs. Cooke S4 T2


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#1 Mr. Macgregor

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Posted 16 August 2006 - 01:59 PM

Hi. I am shooting a nice film in a futuristic environment.

Camera is Arri 435 set in super35mm. Framing will be 2.35 and we will later scan the film for color grading.

Since i want dramatic shots, with very low depth of field, i want to shoot at f2.0.

I had reserved the Zeiss superspeeds T1.3 in order to use them at T2.0.

However today when i went to pick up the camera equipment to make some tests, the superspeeds were not available. So i had to take a Cook T2.0 set and used it at f2.0 and f2.4 for filming these test (this tests were mainly for evaluating film stock and environments).

So i have the option now to continue with these lenses or to return them and get the superspeeds.

What lenses do you think will perform better at f2.0? Simple question. :D
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#2 Chayse Irvin

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Posted 16 August 2006 - 02:23 PM

Hi. I am shooting a nice film in a futuristic environment.

Camera is Arri 435 set in super35mm. Framing will be 2.35 and we will later scan the film for color grading.

Since i want dramatic shots, with very low depth of field, i want to shoot at f2.0.

I had reserved the Zeiss superspeeds T1.3 in order to use them at T2.0.

However today when i went to pick up the camera equipment to make some tests, the superspeeds were not available. So i had to take a Cook T2.0 set and used it at f2.0 and f2.4 for filming these test (this tests were mainly for evaluating film stock and environments).

So i have the option now to continue with these lenses or to return them and get the superspeeds.

What lenses do you think will perform better at f2.0? Simple question. :D


I actually really prefer the Cooke S4's. I got a short film coming up with them and I think the Cookes low contrast warmer feel will give me a nice look with a bleach bypass. And I used them on a feature a few months back. The only issue i found with them is that they love to flare... but i like flares so it worked out.
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#3 Stephen Williams

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Posted 16 August 2006 - 02:32 PM

Hi. I am shooting a nice film in a futuristic environment.

Camera is Arri 435 set in super35mm. Framing will be 2.35 and we will later scan the film for color grading.

Since i want dramatic shots, with very low depth of field, i want to shoot at f2.0.

I had reserved the Zeiss superspeeds T1.3 in order to use them at T2.0.

However today when i went to pick up the camera equipment to make some tests, the superspeeds were not available. So i had to take a Cook T2.0 set and used it at f2.0 and f2.4 for filming these test (this tests were mainly for evaluating film stock and environments).

So i have the option now to continue with these lenses or to return them and get the superspeeds.

What lenses do you think will perform better at f2.0? Simple question. :D


Hi,

I would go with the Cooke S4's.

Stephen
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#4 Mitch Gross

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Posted 16 August 2006 - 04:05 PM

Cooke S4 all the way., no contest.
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#5 Mr. Macgregor

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Posted 16 August 2006 - 04:07 PM

Are they sweet at T2.0 or better to close to T2.4 or T2.8 for better results?
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#6 Max Jacoby

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Posted 16 August 2006 - 06:30 PM

Cooke S4s are not the sharpest lenses to begin with. Unlike Zeiss lenses they do not have one point that clearly is in focus. This is most obvious when you have flat, high key lighting. But they can look nice in contrasty lighting because then the lighitng itself guides your eyes to where in the frame you're supposed to look and the three dimensional look that the lenses give comes into play.

If you want to maximise your sharpness, best stop down to T4, which is markedly better than T2. This is for theatrical projection of course, if your project is meant for the small screen, sharpness won't be an issue.
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#7 Adam Frisch FSF

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Posted 16 August 2006 - 07:18 PM

I absolutely love the softness of the T1.3's wide open, especially on close-ups. But at T2 they're pretty sharp.
The only drawback with them is the limited range in the series - the Cooke's offer a much better range.
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#8 Mr. Macgregor

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Posted 19 August 2006 - 09:51 AM

At last I got the test footage that i shot with the 200T film stock and cooke lenses set at f2.0 and 2.8. It´s in DVcam so i cannot expect to judge resolution but i think latitude was very good.
I can see horizontal movement. I hope it comes from the telecine and not from the camera itself.

video 1 1Mb

video 2 2 Mb

Edited by macgregor, 19 August 2006 - 09:51 AM.

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#9 Dan Goulder

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Posted 19 August 2006 - 10:20 AM

I can see horizontal movement. I hope it comes from the telecine and not from the camera itself.

I would recommend doing a steadiness test on the camera first. The telecine should be fairly steady. (Your footage has a nice hypnotic feel to it.)
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#10 Max Jacoby

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Posted 19 August 2006 - 10:42 AM

How did you get the flare on the closer shots, did you light for it or is it the stray light from the windows?
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#11 Mr. Macgregor

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Posted 19 August 2006 - 11:05 AM

How did you get the flare on the closer shots, did you light for it or is it the stray light from the windows?


It is easily done in post. I love the hypnotic feeling of this kind of intrusive lights. Someone should develop a flare software to do these things... :D
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#12 Chayse Irvin

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Posted 19 August 2006 - 11:29 AM

It is easily done in post. I love the hypnotic feeling of this kind of intrusive lights. Someone should develop a flare software to do these things... :D


What kind of software and filter did you use to get the flare?
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#13 Mr. Macgregor

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Posted 19 August 2006 - 12:04 PM

The software is not important. You put a square in the color you want, apply a guassian blur. And combine it with screen mode. Any software can do that.
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#14 Michal Tywoniuk

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Posted 20 August 2006 - 02:33 PM

The software is not important. You put a square in the color you want, apply a guassian blur. And combine it with screen mode. Any software can do that.


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#15 Michal Tywoniuk

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Posted 20 August 2006 - 02:50 PM

Hi, nice tests, if this is kind of subject u want to shoot I would go definitely for S4, superspeeds are also very good but not as smooth, more sharp and higher contrast, I think S4 fits better for the mood you want to get. Anyway, the best is to shoot the same test with both sets and watch the result on the screen, comparing directly.
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#16 Matt Workman

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Posted 24 August 2006 - 11:02 AM

This looks awefully similar to Similo. Are you remaking a sup35 version?
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#17 Mr. Macgregor

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Posted 24 August 2006 - 11:10 AM

This looks awefully similar to Similo. Are you remaking a sup35 version?


Hahaha, no it is not the remake. I guess it is just my style.

At last i got the 2k scans from the actual film:

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#18 Matt Workman

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Posted 24 August 2006 - 03:15 PM

Wow. How much is a 2K scan for a 1000' roll? Did they come as Cineon files or something like a .tiff?

Is that last one a DI - Day for Night?

Heh I guess it was more of the production design, white walls, sheets, etc. Kind of like The Island.
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#19 Mr. Macgregor

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Posted 25 August 2006 - 04:42 AM

Wow. How much is a 2K scan for a 1000' roll? Did they come as Cineon files or something like a .tiff?

Is that last one a DI - Day for Night?

Heh I guess it was more of the production design, white walls, sheets, etc. Kind of like The Island.



Hi, the price i got was around 0,25-0,3? per frame. So you can just multiply to whatever you need.
The last one has level and gamma correction, so it looks more like night.

Posted Image

The files i got are cineon files, yeah. Too much grain for my taste. What do you think?
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#20 Mr. Macgregor

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Posted 26 August 2006 - 06:22 AM

Hi, the price i got was around 0,25-0,3? per frame. So you can just multiply to whatever you need.
The last one has level and gamma correction, so it looks more like night.

Posted Image

The files i got are cineon files, yeah. Too much grain for my taste. What do you think?


;)
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