ZEISS DigiPrime: eight-lens series (14–135mm) optimized for digital cinema cameras and Super 35mm sensors, featuring T* coating and parfocal design.
| 14 | 18 | 25 | 35 | 50 | 85 | 100 | 135 |
|---|---|---|---|---|---|---|---|
| T1.3 | T1.3 | T1.3 | T1.3 | T1.6 | T1.6 | T2.1 | T2.1 |
| 0.30m | 0.30m | 0.30m | 0.35m | 0.50m | 0.90m | 1.00m | 1.20m |
| 2.7kg | 2.8kg | 2.9kg | 3.2kg | 3.4kg | 3.5kg | 3.6kg | 3.8kg |
| 134 | 134 | 134 | 134 | 134 | 134 | 134 | 134 |
| 104° | 90° | 72° | 54° | 40° | 24° | 20° | 15° |
| ◀━━━━━━▶ | ◀━━━━▶ | ◀━━━▶ | ◀━━▶ | ◀━━▶ | ◀━▶ | ◀▶ | ◀▶ |
PL · 134mm Front · 300° Focus · T* Coating · S35
The DigiPrime series comprises eight focal lengths: 14mm, 18mm, 25mm, 35mm, 50mm, 85mm, 100mm, and 135mm, all with a uniform diameter of 134mm and PL mount. The optical design uses 13-16 lens elements depending on the focal length, with special T* multi-layer coating for reduced reflections on digital sensors. The focus ring offers 300° rotation with precise 0.1m markings, while the parfocal design allows focal length changes without loss of sharpness. Special feature: The lenses fully cover Super 35mm sensors and exhibit minimal chromatic aberration due to apochromatic correction.
ZEISS introduced the DigiPrime series in 2005 as a response to the emerging digital cinematography. The development was based on the proven Master Primes, but with newly calculated optics for the specific requirements of digital sensors such as the RED ONE or Arri Alexa. In 2008, ZEISS expanded the series with the longer focal lengths of 100mm and 135mm. With the introduction of the Supreme Prime series in 2018, ZEISS positioned the DigiPrimes as a mid-range option between the high-end Supreme Primes and the more compact CP.3 lenses.
DoP Roger Deakins used DigiPrimes for exterior scenes in "Skyfall" (2012) to optimize natural color reproduction with digital Arri Alexa cameras. The 25mm and 35mm DigiPrimes are frequently used for handheld shots, as their weight of 2.9kg and 3.2kg respectively still allows for manageable configurations. In studio use, cinematographers appreciate the constant T1.3 aperture of the shorter focal lengths for available light situations. The parfocal design allows for focal length changes during recording without the need for focus re-adjustment.
Compared to the Master Primes, DigiPrimes offer optimized micro-contrast transmission for digital sensors, but do not achieve their absolute resolution performance on film. The newer Supreme Primes surpass DigiPrimes in sharpness and bokeh quality, but cost three times as much. Direct competitors include Cooke S4/i and Leica Summilux-C, with DigiPrimes offering more neutral color rendition and higher resolution. For productions with a mixed film/digital workflow, Master Primes remain the first choice, while purely digital productions benefit from DigiPrimes' specific optimizations.
Ich schätze bei DigiPrimes besonders die konstante T1.3-Blende bei den Weitwinkeln für Low-Light-Situationen und den präzisen Fokusring mit 300° Rotation für exakte Schärfenführung. Der parfokale Aufbau ermöglicht mir Brennweitenwechsel ohne Schärfeverlust, was bei dokumentarischen Drehsituationen entscheidend ist. Die neutrale Farbwiedergabe gibt mir mehr Flexibilität im Color Grading, ohne unerwünschte Farbstiche korrigieren zu müssen.
DigiPrimes unterstützen meine visuelle Erzählweise durch ihre organische Bildwiedergabe ohne übertriebene Kontraste oder Farbverschiebungen. Besonders die 35mm und 50mm nutze ich für Dialogszenen, da sie natürliche Gesichtsproportionen ohne Verzerrung liefern. Die hohe Lichtstärke erlaubt mir authentische Available-Light-Atmosphären ohne zusätzliche Beleuchtung, was die Schauspielführung in intimen Szenen begünstigt.
Ein kompletter DigiPrime-Satz kostet etwa 180.000 Euro, liegt also zwischen den günstigeren CP.3 und den Premium Supreme Primes. Die robuste Bauweise reduziert Ausfallrisiken am Set, während der standardisierte 134mm-Durchmesser einheitliche Mattebox- und Filter-Setups ermöglicht. Für mittlere Budgets bieten DigiPrimes das beste Preis-Leistungs-Verhältnis bei professioneller Bildqualität ohne Supreme-Prime-Premium.
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