ZEISS HIGH SPEED MKI
These lenses have a really distinct and individual triangular bokeh with a slight vintage quality. They have a nice softness to them and a flatter contrast to the later versions. A great set of lenses for lower budget productions that want a distinctive look with a super fast aperture of T1.4.
They are lightweight and small, for MoVi or handheld shoots they are a dream.
The streets of New York at night in 1976. DOP Michael Chapman shot one of Scorsese’s masterpieces, ‘Taxi Driver’ on a set of Mk1 Super Speeds capturing the gritty, raw and edgy character of NYC at night beautifully.
These lenses have a really distinct and individual triangular bokeh with a slight vintage quality. They have a nice softness to them and a flatter contrast to the later versions. A great set of lenses for lower budget productions that want a distinctive look with a super fast aperture of T1.4.
They are lightweight and small, for MoVi or handheld shoots they are a dream.
The streets of New York at night in 1976. DOP Michael Chapman shot one of Scorsese’s masterpieces, ‘Taxi Driver’ on a set of Mk1 Super Speeds capturing the gritty, raw and edgy character of NYC at night beautifully.
These lenses have a really distinct and individual triangular bokeh with a slight vintage quality. They have a nice softness to them and a flatter contrast to the later versions. A great set of lenses for lower budget productions that want a distinctive look with a super fast aperture of T1.4.
They are lightweight and small, for MoVi or handheld shoots they are a dream.
The streets of New York at night in 1976. DOP Michael Chapman shot one of Scorsese’s masterpieces, ‘Taxi Driver’ on a set of Mk1 Super Speeds capturing the gritty, raw and edgy character of NYC at night beautifully.