ZEISS Cine prime lenses in 11 focal lengths (15–135mm), T2.1 aperture, T* coatings, 300° focus rotation for color consistency across focal lengths.
| 15 | 18 | 21 | 25 | 28 | 35 | 50 | 65 | 85 | 100 | 135 |
|---|---|---|---|---|---|---|---|---|---|---|
| T2.9 | T2.9 | T2.9 | T2.1 | T2.1 | T2.1 | T2.1 | T2.1 | T2.1 | T2.1 | T2.1 |
| 0.30m | 0.30m | 0.24m | 0.26m | 0.24m | 0.30m | 0.45m | 0.65m | 1.00m | 1.00m | 1.00m |
| 1.25kg | 1.20kg | 1.05kg | 1.00kg | 0.98kg | 0.98kg | 1.00kg | 1.15kg | 1.25kg | 1.45kg | 2.10kg |
| 95 | 95 | 95 | 95 | 95 | 95 | 95 | 95 | 95 | 95 | 95 |
| 100° | 90° | 81° | 72° | 65° | 54° | 40° | 31° | 24° | 20° | 15° |
| ◀━━━━━━▶ | ◀━━━━▶ | ◀━━━━▶ | ◀━━━▶ | ◀━━━▶ | ◀━━▶ | ◀━━▶ | ◀━▶ | ◀━▶ | ◀▶ | ◀▶ |
PL/LPL/E · 300° Focus · FF · T* XD · + 50/100mm Macro
The CP.3 set offers 11 focal lengths from 15-135mm plus two macro variants (50mm, 100mm). All except 15/18mm achieve T2.1. Color Matching according to ZEISS eXtended Data standard for consistent color reproduction between lenses. Focus: 300°, Iris: 120°, uniform 0.8 module gear position. T* multi-layer coating minimizes reflections. PL mount with shim adjustment, optional LPL for Large Format.
ZEISS introduced the CP.3 series in 2017 as the successor to the CP.2 lenses. Development began in 2014 with the goal of offering the optical performance of the Master Prime series in a compact design. In 2018, ZEISS expanded the series with macro variants, followed by the LPL mount in 2019 for ARRI Alexa LF and RED Monstro cameras.
The CP.3 lenses are based on the Otus photo series but have been modified for cine requirements with focus/iris gearing and T-stop calibration.
DoPs appreciate the CP.3 for its low distortion and high sharpness extending to the image corners. The series was used for LED volume shots in "The Mandalorian" (2019) due to the precise color reproduction essential for Virtual Production. Netflix productions like "Ozark" use the set for a consistent look across all focal lengths.
The constant T2.1 aperture allows for even exposure when changing focal lengths without re-exposure. The uniform front diameter reduces matte box and filter changes.
Compared to the more affordable CP.2, CP.3 offers higher resolution and less chromatic aberration. In comparison to ARRI Signature Primes (T1.8), they are slower but significantly more compact and cost-effective. Cooke S7/i lenses offer similar specifications with a more characteristic "Cooke Look."
Alternatives include Canon CN-E Primes for budget productions or ZEISS Supreme Primes for the highest optical demands. The choice depends on desired image look and budget constraints.
Ich schätze die CP.3 für ihre klinische Schärfe und neutrale Farbwiedergabe – perfekt wenn der Regisseur einen sauberen, modernen Look will. Die einheitlichen Abstände und Gewichtsverteilung sparen mir Zeit beim Rigging, besonders bei schnellen Brennweitenwechseln mit der Follow Focus.
Die CP.3 geben mir einen sehr kontrollierten, präzisen Look ohne optische Eigenarten – ideal für zeitgenössische Thriller oder Sci-Fi, wo Perfektion die Geschichte unterstützt. Anders als vintage Objektive lenken sie nicht vom Inhalt ab, sondern lassen die Schauspielerführung im Vordergrund stehen.
Ein CP.3-Set kostet etwa 120.000€ Neupreis, Tagesmiete liegt bei 180-220€ pro Objektiv – kalkulierbar für mittlere bis große Produktionen. Die Verfügbarkeit ist gut, Wartungskosten durch robuste Bauweise niedrig, was die Gesamtproduktionskosten planbar hält.
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