I finally got around to conduct a casual lens test for all the Contax Zeiss lenses I own. I shot all lenses wide open, at 2.8, 5.6, 8 and closed at 16 or 22. I moved the camera, so as to keep the framing similar. On the 2 zooms I own, I tested these on both ends and in the middle. I also tested a few lenses with a 2x extender.

In the end I chose a 150×150 frame, cropped these in Graphic Converter into high quality jpegs (@90%). Then I sorted all crops according to their f-stop. During the next days I’ll post the results.

Today I start with 5.6, which is the stop that should be the sweet stop for most lenses (i.e. 2 stops down from wide open). This should give a good indication of how the lenses perform optically. I opened up all cropped jpegs, without knowing which one belonged to which lens. Then I ordered them as to how good they resolved the text – this step is of course up for discussion, but gives a general idea. more…

I finally got around testing the various adapters I bought to adapt my Carl Zeiss Contax Yashica primes to our RED. The RED has the Wicked Circuit dumb mount. All adapters work fine up to about 20 meters, but after that there is a definite difference.

All tests were done on the Zeiss 50/1.4 lens, with the aperture set to 4 and 16. No filters were used, instead faster shutter speeds were employed.

Here is the frame I took in 4k, scaled down to 25% (Click on picture for full size), further down the test you will see 100% cropped images of just the chimney (compressed to jpg in Photoshop with high quality setting) .

El Cheapo

First in line is the £5 adapter off eBay from seller big_is. Very quick and efficient delivery from Hong Kong. Fits nicely. Fairly soft on infinity.

Holds fairly well at f16.

Bad at 4.

Conclusion: if you are on a budget, and either only shoot closer subjects or have plenty of light, this is an acceptable adapter.

DVD Technik

Next in line is the adapter from DVD Technik in the Ukraine at about $35. Has a very nice quality feel to it, and sist very tight on the lens. Best to be fitted once onto the lens, and left in place. Also quite tight once connected to the camera; downside is that it takes a bit longer to change lenses, but they do sit more tightly.

Disappointing at f16.

Appaling at f4.

Conclusion: Not really an option.

Confirm Adapter

Fianally the most expensive option at $85 from Happypage in Hongkong, an adapter with built-in autofocus confirm chip. Happypage offers the option of getting that chip programmed to your specific lens, which is a nice option when you want to use your lenses on a Canon EOS stills camera. Since the RED is thankfully a fully manual camera, I could not test this extra functionality.

At first the adapter would not fit. After an e-mail to happypage they immedeatly sent off a second adapter without any cost to me. The adapter arrived, but would not fit either. This suggests that the Wicked Circuit adapter might be slightly off, since happypage has only happy curstomers. Anyway, using my Dremel drill, I managed to get the adapter to fit into the RED – again, very tight, but not as tight as the DVD Technik one, and run the tests.

Happypage advertizes the fact that their adapters are a fraction of a millimitre thinner than their competitors, and claims that this helps with the focus on infinity. Let’s see how this holds up to reality.

Me likes at f16.

A Bit disappointing at f4.

Conclusion: Clearly the winner.

Conclusion

As so often, if you want quality, you have to pay for it. Interesting though that the by far cheapest option was not the by far worst one.

Also it seems that I still have problems with the back-focus on the Wicked Circuit adapter. My guess is that if that should ever get sorted out (or I might – gasp – order again a Birger Canon mount) the results will improve.

Yesterday the Andy Lesniak Canon mount for our RED One camera arrived. After struggling a bit with the back-focus adjustment, the mount is now installed, and I ran a quick lens breathing test. These were not lit or framed at all, just a speedy test on how the lenses perform under focussing. No follow focus yet either, thus not the cleanest pulls ever. No CC either.

All tests were done with the lenses set at their widest, also to test the focus at infinity.

Carl Zeiss Distagon 25mm/2.8 (Click to see the test at 1024×512)

Focus at infinity is not quite there. This might be because of the Contax/Canon adapter used. A new one is on order. If the lens is stepped down to 5.6, infinity is fine. Stepping down on the 25/2.8

Carl Zeiss Distagon 35mm/2.8 (Click to see the test at 1024×512)

Carl Zeiss Tessar 45mm/2.8 (Click to see the test at 1024×512) This lens is small, not thicker than a thumb.

Carl Zeiss Planar 50mm/1.4 (Click to see the test at 1024×512) The flickering comes from the office fixtures.

Carl Zeiss Planar 80mm/1.4 (Click to see the test at 1024×512) This is one beauty of a lens.

Carl Zeiss Sonnar 135mm/2.8 (Click to see the test at 1024×512)

Carl Zeiss Tele-Tessar 200mm/3.5 (Click to see the test at 1024×512)

Tamron 500mm/8 (Click to see the test at 1024×512) This is just a lens I happend to have, and it was fun trying it as well. It has a fixed aperture of 8, and includes a macro function. Mirror lens, meaning it is relatively compact.

Generally I am happy with the performance of these lenses, their breathing is acceptable to me. The built quality of the Zeiss lenses is phenomenal, they have a very long focus throw.

Just had to share some reviews of Paris Hilton’s success as an actress in The Hottie and the Nottie:

“It’s not like Paris Hilton to rise above her material, but The Hottie and the Nottie sinks so low that all she has to do is stand upright.” — Sam Adams, LOS ANGELES TIMES”

Great actors make the craft look easy. In this Paris Hilton comedy, acting looks very, very difficult.” — Kyle Smith, NEW YORK POST

“This pea-brained vanity production…” — Nell Minow, CHICAGO SUN-TIMES

“This tasteless train wreck …” — Jeannette Catsoulis, THE NEW YORK TIMES

“Imagine the worst movie you’ve ever seen. Got it? Now try to think of something worse. That something is this movie.” — Connie Ogle, MIAMI HERALD

On a possible score of 100, the film gets 6. For more reviews, had over to Defective Yeti.

Sometimes you have to produce photographs from films, so-called frame grabs. In Final Cut Pro this entails several clicks for each frame, something that becomes tiresome after a while. Also, if your material is anamorphic, you have to resize it in a separate programme, adding yet more clicks.Enter Movie Frame Grabber, a simple programme for the Mac.You drag a QT into the blue window, then you chose the frame you want, hit “Save Frame” and you are done.Much easier than using QT or FCP.One thing I noticed – and I am torn between calling it a feature or a bug – is that each frame gets exported in the same size as your windows is sized. I.E. When you have a 600×400 QT file, but your window is, say 605×605, you get a square picture. The good thing is that Movie Frame Grabber does a decent job of uprezzing. So if you need some quick framegrabs, this is a big time saver.

Wishes

What I would love are the following future features:

• De-interlacing
• Automatic naming and numbering of exported frames.
• Option to export in native QT size (with option of having 16:9). Option of having 25%, 50%, 200%, 400% sizes. Throw in some advanced resizing calculations, and this could become a powerful tool that people would spend money on. This reviewer included.
• Display of current window size.
• A Text saying “Drop QT file here” instead of the blue screen — this threw me off at first; blue screen to me suggested that I would have to plug in a DV source.
• Support for keyboard control. Space = start/stop. Arrow left/right = one frame advance/back.

That said, great little – and free – program.(Review at Macupdate.)