While there have been some rather large announcements at IBC, one of the companies that never fails to impress with something new and shiny is Carl Zeiss Lenses. They just recently announced new CP.2 lenses as well as a new CP.Z zoom lens. This year they've introduced a brand new DSLR lens, a 135mm f/2.0 Apo Sonnar T* at the show. They're also showing off what was simply a prototype at this year's NAB, and that's brand new anamorphic lenses. Since those will be even more expensive than even their $20K Master Primes, they will definitely be a rental option for many productions.
Introduction video for the 135mm f/2.0 Apo Sonnar T*:
The lens is going to run $2,000, which is a little pricy, but it's full frame, and at this speed, for this length, performance looks like it's going to be exceptional. The anamorphic lenses are looking like they will definitely live up to the Master Prime name -- priced out of this world with performance to match. A 50mm T/1.9 is simply remarkable, especially if it doesn't breathe and is sharp all around. Anamorphics are very difficult to get because of the way the glass is made. The one thing that will be interesting is if the effect is too sterile. Anamorphic flaws are one of the things people are looking for, so if Zeiss minimizes them too much, does it really defeat the purpose of an anamorphic lens?
Here is a little bit from the press release on those new lenses:
Seven high performance anamorphic primes (35 mm, 40 mm, 50 mm, 60 mm, 75 mm, 100 mm and 135 mm) comprise the lineup. The lenses are fast and compact, capable of shooting at T1.9, and most have a front diameter of 95 mm. The maximum lens weight is below 3 kg...Virtually no image breathing and no anamorphic mumps (fat face effect) are experienced. A com- pletely new focusing mechanism overcomes time-consuming mechanical readjustments on set; state-of-the-art lens barrels feature improved dust and water protection. Anamorphic imagery is famous for striking bokeh. With the Master Anamorphics this is further opti- mized with evenly illuminated oval out-of-focus highlights. Anamorphic blue streak lines are ren- dered in a fresh style with enhanced flares and reflections for additional artistic options.
Check out some more photos of the Anamorphic lens below, and a picture (thanks to Film and Digital Times) of it mounted on an Arri Alexa Studio at IBC (which is capable of 4:3 since these are 2X anamorphics).
What do you guys think?