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WTB zeiss superspeeds s16 mark ii/iii PL mount

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  • #31
    I have a nice set of zeiss superspeed markIII in feet for sale. It is a complete set which comprises of 9.5/12/16/25/50 (the 50mm covers also 35mm). Very good lenses, recently serviced. Optics and mechanics are perfect. Some cosmetics marks. I am thinking selling it for 8500€ if someone is interested. Located in France.

    Send an email to focaine(at)gmail(dot)com
    Thanks.

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    • #32
      i think i can throw a bit of light on this subject. for last 20 years i have worked as DoP and almost all TV things i shoot form 1994 to 2007 i shoot on S16 using Zeiss super 16 lenses. i can say that i used all HS, SS Zeiss out there. i owed a MK3 set that i sold in 2011 for 3200$ believing the format is dead and i wont use them ever again. i still have one small set 9.5 12 and 25 HS 1.3 MKI in B mount that i kept just in a case.

      there is no optical difference at all in Mk I II and III. housings are different but unlike on SuperSpeeds mechanics are more less the same, foucse travel is the same on MK2 and MK3. blades are different and there is one small run with triangular blades that was hated back in the days but now is back in hipster fashion. Zeiss s16 lenses ware dead in 1980 and there was no future development in that feed. i never liked 25mm and 35mm and usually on all film productions i would use full 35mm Superspeead MK3 form 18mm up and i would just use 9.5mm and 12mm. on thing that i have to say is that resolution on HS was really high. once Dr.Diewald in Munich gave me a Opton version oz Zeiss HS of 9.5 that was, according to him, made with florite glass. that was sharpest best looking 9.5 1.3 i ever used. in '80 and '90 s16 moved to zooms and until Ultraprmes nothing was made to redesign and improve fixed focal lenses

      what ever you buy, made by Zeiss, for s16 you wont go wrong. yes MK3 looks nicer, barrel is bigger and easier to pull focus, but MK1 will deliver
      the same look. of your MK1 has "ears" for arri SR1 quick FF system, you can remove them and add focus gear, 80mm front step ring and indian B to PL adapter all under 200$. it wont look as fancy but it will perform and have same features.

      now only question is how long, this digital s16 is going to be available. if you are investing around 10k in a S16 prime lens set and zoom (something like Zeiss 11-110 T2) to match your prime set; you need to be sure that you will have minimum two tears and several project life span.

      personally i have invested a lot of money in s16 gear that over the years earned me a house, but last time took a credit to buy arri SR2 s16 and MKIII's i knew for sure that s16 fill be around for ever and that i have lifetime of expatiation ahead. i was wrong but still it gave me good 12 years. its fun to have BMPC and to rig it up with a Arri Bayo mount and to use MK1 that i have. i didnt pay a cent for lenses, and that makes it so good, but if i would to invest money, and buy lenses for this system i would not buy something so limited as S16 zeiss primes

      just my 2c

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      • #33
        Digital S16, if anything, seems more alive now than ever. The Pocket camera is a runaway success, and Sony added the Center Scan Mode to the F5 and F55 meaning you can use S16 glass. With new cameras coming out, and who knows how many more later on, I don't see the use for S16 primes going away soon. Hell, even for their use on actual film (which some of us still work with). I am not saying you are wrong, but just shedding some light on the fact that the lifespan of digital S16 might be longer than we think.

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        • #34
          Another option for your S16 glass is 2K mode on the Red Epic and Scarlet. Shooting high frame rates on the Red Scarlet can only be done at 2K. 2K is a crop mode that is close to Super16mm.
          Adam Roberts
          www.adamroberts.net

          Comment


          • #35
            Originally posted by kennysule View Post
            Digital S16, if anything, seems more alive now than ever. The Pocket camera is a runaway success, and Sony added the Center Scan Mode to the F5 and F55 meaning you can use S16 glass. With new cameras coming out, and who knows how many more later on, I don't see the use for S16 primes going away soon. Hell, even for their use on actual film (which some of us still work with). I am not saying you are wrong, but just shedding some light on the fact that the lifespan of digital S16 might be longer than we think.
            and not to mention panavision hollywood just ordered 20 pocket cameras with viewfactor cages…
            as well, super 16mm film, like you said is making a come back, a known DP just shot his second decent budget feature on super 16mm this year.
            what i have found is the MK3's hold their value more because that model is the one rental houses can rent because its the AC's that ask for them specifically, and the MK2's are more for personal use.

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            • #36
              Originally posted by Adam Roberts View Post
              Another option for your S16 glass is 2K mode on the Red Epic and Scarlet. Shooting high frame rates on the Red Scarlet can only be done at 2K. 2K is a crop mode that is close to Super16mm.
              thats the reason i first got the 9.5 and the 12mm, a few times i found myself stuck with a surprise that the director wanted a wide high speed shot and we wound up having to back way way up with our 35mm primes.

              as well, 16mm and above covers micro 4/3 sensors and BMC cameras….

              Comment


              • #37
                Originally posted by cikaziva View Post
                i think i can throw a bit of light on this subject. for last 20 years i have worked as DoP and almost all TV things i shoot form 1994 to 2007 i shoot on S16 using Zeiss super 16 lenses. i can say that i used all HS, SS Zeiss out there. i owed a MK3 set that i sold in 2011 for 3200$ believing the format is dead and i wont use them ever again. i still have one small set 9.5 12 and 25 HS 1.3 MKI in B mount that i kept just in a case.

                there is no optical difference at all in Mk I II and III. housings are different but unlike on SuperSpeeds mechanics are more less the same, foucse travel is the same on MK2 and MK3. blades are different and there is one small run with triangular blades that was hated back in the days but now is back in hipster fashion. Zeiss s16 lenses ware dead in 1980 and there was no future development in that feed. i never liked 25mm and 35mm and usually on all film productions i would use full 35mm Superspeead MK3 form 18mm up and i would just use 9.5mm and 12mm. on thing that i have to say is that resolution on HS was really high. once Dr.Diewald in Munich gave me a Opton version oz Zeiss HS of 9.5 that was, according to him, made with florite glass. that was sharpest best looking 9.5 1.3 i ever used. in '80 and '90 s16 moved to zooms and until Ultraprmes nothing was made to redesign and improve fixed focal lenses

                what ever you buy, made by Zeiss, for s16 you wont go wrong. yes MK3 looks nicer, barrel is bigger and easier to pull focus, but MK1 will deliver
                the same look. of your MK1 has "ears" for arri SR1 quick FF system, you can remove them and add focus gear, 80mm front step ring and indian B to PL adapter all under 200$. it wont look as fancy but it will perform and have same features.

                now only question is how long, this digital s16 is going to be available. if you are investing around 10k in a S16 prime lens set and zoom (something like Zeiss 11-110 T2) to match your prime set; you need to be sure that you will have minimum two tears and several project life span.

                personally i have invested a lot of money in s16 gear that over the years earned me a house, but last time took a credit to buy arri SR2 s16 and MKIII's i knew for sure that s16 fill be around for ever and that i have lifetime of expatiation ahead. i was wrong but still it gave me good 12 years. its fun to have BMPC and to rig it up with a Arri Bayo mount and to use MK1 that i have. i didnt pay a cent for lenses, and that makes it so good, but if i would to invest money, and buy lenses for this system i would not buy something so limited as S16 zeiss primes

                just my 2c
                wow, keslow just bought a MK3 set for 17k…just had to hold out for two more years!

                Comment


                • #38
                  So i got myself a bloody lovely looking, near mint 16mm mark ii in pl mount to begin! plan to use along side my 28mm 35mm and 50mm contax lenses ...
                  doesn't solve the need for a really wide angle on the pocket, the 9.5mm is next i think , but for now i thought a 32mm equivalent will get more use than a really wide angle.
                  oh yeah and it cost me €1100 with a fresh service!

                  Comment


                  • #39
                    Congrats. The 16mm is my go-to wide on the BMCC. By far the most versatile lens I own.

                    Comment


                    • #40
                      Originally posted by cikaziva View Post
                      just my 2c
                      good information you can only get with experience. thanks!

                      Comment


                      • #41
                        I have a set of 6 Arri Ultra16 lenses for sale on ebay. These are probably the best lenses ever made for the S16 format.

                        Check the Ebay-link: http://www.ebay.de/itm/191169924664?...84.m1558.l2649

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