TLS Zeiss Contax: The Full Frame Super Speeds
Zeiss, TLS, and Cine Visuals Present: Zeiss Contax Primes
Cinematic Heritage
In the ‘70s there were quite a few brands utilizing their still photography glass and reworking them for motion picture. Canon took their FD glass and made the K35s. Kowa took their Kowa R line and made the Kowa Cine Prominar Sphericals (and then adapted those to an anamorphic version). The Olympus OM Zuikos were adapted into the Moviecam line of primes. Today, many lenses from this period are receiving a rebirth in rehousing, such as the Asahi Super Takumars. Another one of these are the Zeiss Contax. The famous Zeiss Super Speeds, which both the Canon K35 and Moviecams were crafted in direct competition to, were themselves developed alongside the Zeiss Contax lenses. Optical designs were completed by Zeiss with SLR camera and lens manufacturing done in Japan in collaboration with Yashica. One could say that the Contax were the still photography version of the motion picture Super Speeds or more specifically, the Super Speeds were the cinema adaptation of the Contax.
While Zeiss Super Speed original housings are still used today alongside rehousings by companies like True Lens Serive, TLS has also rehoused the Zeiss Contax. In much the same way the TLS Canon FD glass accompanies the TLS Canon K35s, the TLS Zeiss Contax accompanies the Zeiss Super Speeds. However, the key difference – they cover Full Frame.
In a world where Full Frame is ever-growing, not all vintage glass is compatible mechanically. True Lens Service saw this problem. The Zeiss Super Speeds have been some of the definitive lenses for decades. However, they only cover a S35mm image plane. TLS had an idea. To bring the optics for still photography that were crafted with the same imagery as the Super Speeds to motion picture. To bring the Super Speeds’ look to Full Frame. 35mm still photography exposes horizontally at 8-Perf as opposed to motion picture’s vertical 4-Perf exposure. VistaVision comes from, as a cinematic adaption of this still photography process. Full Frame cinema cameras are thus inspired by the size of VistaVision. Zeiss Contax lenses, designed for 35mm still photography, cover this image plane. TLS has now brought the iconic Zeiss Super Speed look to the world of Full Frame via the TLS Zeiss Contax. An incredible feat and a true gift to the world of cinematography.
Image Fidelity & Focus
As mentioned before, the Zeiss Contax are often dubbed the Full Frame Super Speeds. Zeiss Super Speeds have an iconic look, whether that be the original Mark I (often nicknamed the B-Speeds) or the Mark II and III that many consider the definitive Zeiss Super Speed look. Zeiss has always been known for their precision optics. The Contax, much like the Super Speeds, have the crispness that Zeiss is known for but are combined with a vintage appearance. Their rendering of skin tones feels organic and gentle. For lenses from this period, they have higher contrast due to their innovative T-coatings. These anti-reflective coatings allow more light to be transmitted through the glass while also helping bring a natural-feeling contrast out in the image. Center sharpness is careful and focused. Focus falloff gently rolls off to the edges of the frame. There is a filmic quality in these lenses that keeps bringing filmmakers back to them. Focal plane layers in the image are distinct. Subjects are crisp with background and foreground out-of-focus elements taking on a painterly appearance. This clear separation gives strong motivation to subjects and allows cinematographers the focus to bring clarity to their frames for audiences.
Handling & Adaptability
Zeiss Contax lenses were carefully crafted, with focal lengths given their own specific design with different mechanical and optical behavior. Each lens was then given the famous T-coatings and designed to match in appearance. This innovation allowed each lens to have more uniformity in look and behavior for the photographer while actually having very different internal designs. At the time, this was a brilliant innovation and while this has become somewhat of a standard today, in the early ‘70s this helped create the SLR revolution. Each type of design was given its own name underneath the Contax line. For wide angle optical designs the name Distagon was given. For normal lenses the name Planar. Sonnar was given to telephoto lenses. For macro lenses they were an adaptation of the Planar and Sonnar designs and dubbed the Makro-Planar or Makro-Sonnar. And for zooms, Zeiss based them off the Sonnar design and called them Vario-Sonnars. With these blueprints, Zeiss was able to streamline the creation of Contax lenses and various focal lengths while providing an easy-use design for photographers and maintaining the same look across the set.
Vintage glass and Full Frame have become the main cravings of the modern era. True Lens Service brings vintage glass up to speed on mechanical housing that is so necessary for today’s workflows. Nearly every lens weighs under 3 lbs with the 100mm and 135mm weighing 3.10 and 3.60 lbs respectively. Lengths range from 2.60” to 4.90” with the majority of the set measuring about 3”. These lightweight and compact designs give operators flexibility on set to flow all day and focus energy on the creative. Each lens in the set has a uniform 95mm front diameter with the exception of the 15mm which has a 134mm. Both focus and aperture rings match in location across the set. With matching front diameters and rings, lens swaps are crafted to be quick and efficient. Focus motors will not need their placement adjusted and mattebox switches are designed to be efficient with the streamlined front diameter. With a 300º focus rotation on each prime, not only will camera assistants have efficient adjustments, but focus pulling will be smooth and precise.
Image Circle
As expressed above, Full Frame comes from traditional VistaVision which in turn is inspired by horizontally exposed 35mm still photography. Being rehoused still photography lenses, Zeiss Contax are easily able to cover this size. Thus, TLS has brought the iconic Zeiss Super Speed look to Full Frame. All of the Zeiss Contax cover Full Frame which typically requires at least a 43.3mm coverage. Most of the Contax have an image circle of 46mm with some having a 44mm coverage. There is no vignetting and the lenses project edge-to-edge sharpness and illumination across the image plane.
Flare & Bokeh
Neutral flares are an iconic piece of the Zeiss Contax. Flaring takes on the color and nature of the light that is emitting into the optics. Taking on a gentle starring effect, flares are distinct, beautiful, but do not consume the frame. For larger flares, there is a translucent coolness in the circles that add a touch of grace without drawing too much attention to themselves. Much like the Super Speeds, bokeh is large and bubbly. They take on the saturation of their source and bring strong, impressionistic life to the background. Strong crescenting is a key characteristic of these lenses wide open. In the center, bokeh is circular but quickly takes on a crescent moon shape that grows stronger near the edges of the frame. For Zeiss Contax, this brings this beloved Super Speed bokeh effect into the world of Full Frame. Beautiful and painterly, the Zeiss Contax truly brings the best of the Super Speeds to Full Frame.
These lenses are available for rent at Cine Visuals. For inquiries or testing appointments email info@cinevisuals.com or call (323) 244-2552.
