Compact ZEISS cinema zoom lenses engineered for reduced weight, ideal for handheld and gimbal rigs.
Technical Details
All LWZ lenses feature a constant aperture of T2.9 across the entire zoom range and a minimum focusing distance of 0.8m to 1.2m depending on the focal length. The optical design is based on 16-20 lens elements in 11-14 groups with special ED glass to minimize chromatic aberrations. The lens mount is available in PL-Mount and EF-Mount, with standardized gear rings (0.8 module) for follow focus systems. The zoom ring offers a 100° rotation angle, and the focus ring 300°, enabling precise manual operation.
History & Development
Zeiss developed the Lightweight Zoom series from 2012-2014 in response to the boom in DSLR film productions and compact digital cinema cameras like the RED Epic or Sony FS7. The first introduction took place at NAB 2014, with the 21-100mm serving as the debut model. In 2015, the focal lengths 15.5-45mm and 70-200mm followed. The series arose from the realization that traditional studio zooms like the Master Primes were too heavy and cumbersome for modern, mobile production methods.
Practical Use in Film
The LWZ.3 series is frequently used in documentaries, independent productions, and event cinematography where mobility and quick focal length changes are crucial. Cinematographer Roger Deakins used the 21-100mm for handheld sequences in "Blade Runner 2049," while the series was used for gimbal shots in Netflix productions like "Stranger Things." The constant T2.9 aperture allows for seamless focal length changes without exposure adjustments, which saves time, especially during run-and-gun shoots.
Comparison & Alternatives
Compared to Zeiss's Master Prime Zooms (2.8-4.1 kg), the LWZ offers significantly less weight with only a slight reduction in optical performance. Competing products include the Canon CN-E Zooms and the Fujinon MK series, with the latter being more compact but slower. For high-end studio productions, heavier optics like Cooke S4/i or ARRI Master Primes continue to be preferred, while the LWZ excels in documentary work and fast production cycles.