Building on the success of the well-regarded CP.2 lenses, ZEISS's CP.3 Compact Prime Lenses offer the same full-frame sensor coverage and classic ZEISS look in an updated form factor and with improved mechanics and lens coatings. This 135mm Compact Prime lens is derived from the same classic optical formula as the preceding CP.2 variant and shares the same physical length as the 100mm CP.3 lens while maintaining identical focus and iris gear positioning with the entire set of CP.3 lenses, relative to the mount. All CP.3 lenses also share the same 95mm front diameter. Similar physical attributes across the lens line makes fitting lens accessories such as matte boxes, follow focuses, lens supports, and lens control motors easier and less time consuming.

Another feature handed down from the preceding CP.2 lenses is the interchangeable mounts. This lens comes with a Nikon F mount installed. Though, if you wish to fit your CP.3 lens to a different camera, the lens mount can be swapped by the user for a separately available mount of a different kind. If you like the bokeh in your images to be round, even after stopping down, you will be pleased to know that the 14-bladed iris, made famous by the CP.2 lenses, has been retained.

Note: While the CP.3 lenses are designed for a degree of user-serviceability regarding the mount, for ideal performance and calibration, B&H recommends that mount swaps and other lens adjustments be done by a trained lens technician at a service center.

Covers Full-Frame Format    Nikon F Mount    T2.1 to T22 Aperture Range    Geared Focus and Iris Control Rings    Clickless Iris Ring    14-Blade Iris    Classic ZEISS Image Rendering    Improved Ergonomics Over Last-Gen CP.2    New Lens Coatings for Enhanced Contrast    Lens Scale Marked in Feet

Zeiss lenses are known for their clean and crisp image rendering. The CP.3 series of lenses is no different. This CP.3 lens will accurately color-match to other Zeiss cinema lenses inside and out of the CP.3 range. The CP.3 lenses feature improved lens coatings and anti-reflection masking over the CP.2 range for increased contrast and reduced flare, important for capturing content with the intent of an HDR-format release.

For enhanced ergonomics over the previous-generation CP.2 lenses, the CP.3 lens barrel has been reshaped to be more similar to the renowned Zeiss Ultra Prime lenses. This new shape is easier to handle, and takes up less physical space than the original Compact Prime design. An even weight distribution ensures that these lenses will be at home handheld, locked down on a tripod, or flown on a Steadicam or motorized gimbal.

Related Questions and Answers

Q: 1. Can lwz.3 cover whole red weapon's 8k sensor?

A: The ZEISS LWZ.3 does a good job of covering the RED Helium 8K Super35 sensor. If you record in either 8K WS (1.85:1) or 8K HD (1.78:1) mode in the camera, then the 21-100 image circle is large enough to project a complete image, with slight darkening of the edges when in the widest zoom setting. When in the 8K FF (Full Frame) setting, you will see vignetting around the top and bottom of the frame. If you go past 23mm to 25mm, the image becomes quite clean from edge to edge.

Q: 2. Will the E mount version crop on the sony FS7? Or does it remain 20-100mm?

A: The ZEISS Lightweight Zoom LWZ.3 is designed to cover an APS-C / Super 35 sensor size, which is the same as used on the Sony FS7 camera. So there are no crop issues with this lens and camera combination.

Q: 3. Can the tilt module be removed and the lens be used for other mounts like the normal ff series?

A: No, the tilt ring is not removable but can be locked.

Q: 4. How are these compared to the Rokinon Xeen?

A: Cine lenses such as the Schneider Xenon and Rokinon Xeen share the attributes that are so needed in prime lens sets for movie production. Principally these are consistent physical size and consistent image quality. Inconsistent size slows down production and inconsistent image quality slows down post-production with a possible affect of the viewing experience. What differentiates the two brands essentially is that the Xeens are good quality while the Xenons are even better. If the budget is limited, go with the Xeens confident that you will get good results. If the budget is more generous, go with the Xenons. What you will get is superb design, build and image quality that you can feel and see. The Xenons will last for years in hard, 18 hour a day movie production.

Q: 5. Does the lens have a metadata system that sends focus distance and T-stop data back to the camera? (Like Arri LDS)

A: This lens does not have any electronics to send meta data to a camera, like the /i Electronics Technology inside Cooke Cine Lenses.

Q: 6. Can the Xenon handle S35 sensors at 8k?

A: Yes... I have a Red Epic-W with 8K Helium SensorPerfect picture

Q: 7. Country of origin?,Germany?dr asok

A: The COUNTRY OF ORIGIN is GERMANY.

Q: 8. Is this an anamorphic lens with what squeeze factor?

A: The Meike FF Prime Cine 24mm T2.1 Lens is not an anamorphic lens.

Q: 9. Sirs, will this cover the newest (RED) Dragon 8K sensor? Or will there be vignetting? Thank you in advance.

A: The RED Dragon 8K sensor has an image diameter of 46.1mm. The Schneider Xenon FF 25mm T2.1 Lens is designed to cover a Full Frame image diameter of 43.4mm. There will be vignetting.

Q: 10. Is this lens has got the AF mode? Thanks,

A: There is no autofocus (AF) on these lenses. They are entirely mechanical and have no electronic elements.