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VINTAGE

Zeiss Super Speed MKII

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Origin
Germany
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Year
1980s
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Lens Type
Spherical
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Squeeze Factor
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Anamorphic Type
VINTAGE

Zeiss Super Speed MKII

flag
Origin
Germany
calendar-alt
Year
1980s
camera-alt
Lens type
Spherical
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Squeeze Factor
crop-alt
Anamorphic Type

About

Zeiss Super Speeds have been an industry standard workhorse for decades since they do so many things so well. All 6 lenses are T1.3. They are sharp even wide open, yet still flattering on your subject.

Their older coatings can handle bright light sources and blown out windows well, yet they flare and ghost beautifully. They are one of the most well-rounded lens sets out there.

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Focal Length
18mm
25mm
35mm
50mm
65mm
85mm
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Max Aperture
T1.3
T1.3
T1.3
T1.3
T1.3
T1.3
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Min. Focus Distance
10'
10'
14'
28"
28"
36"
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Weight
2 lbs
2.5 lbs
1.75 lbs
1.75 lbs
2.25 lbs
2 lbs
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Front Diameter
80mm
80mm
80mm
80mm
80mm
80mm

Stats

File
TIFF
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Bokeh Chart
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Her
Best in Show
Schindler's List
Lost in Translation

Films

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Projection Tests

Focal Length
18mm
25mm
35mm
50mm
65mm
85mm
WFO Center
WFO Field
T2.8 Center
T2.8 Field
Contrast Average
Focal Length
18mm
25mm
35mm
50mm
65mm
85mm
Notes
Projection Room Notes
RED Epic Dragon
16x9
No Color Grading
ProRes 422 HQ
ISO - 500
Lighting - Incandescent
DRAGONcolor2 REDgamma4
6K HD
No Sharpening
White Balance - 3200K

Test Settings

Kyle Stryker
Lens Test Director of Photography

Super Speeds have always been one of my favorite sets of lenses I’ve ever used. I think a lot of cinematography is about getting into the subconscious of the viewer and these lenses are just ingrained in the psyche of movie viewers because of the countless number of classic films that were shot on these lenses. When I look at the 35mm or 50mm Super Speed on the camera, it just “looks right”. Zeiss really nailed the mechanics and engineering on these lenses, especially for how old they were when they were produced.

One of my favorite things about this set is that you can get many different looks simply by adjusting your T stop. If you like lower contrast and taking down the sharpness, T1.4- T2.0 will give you all of that. If you stop down to a 2.8 or 4 they are right up there with modern lenses!

Mark LaFleur
Lens Test Director, Cinematographer and Owner of Old Fast Glass

Ask any parent who has more than one kid to pick a favorite. It’s not easy. It’s the same with me and lenses. However, if I had to sell off every set of lenses I had and keep one set of primes, it would be these. Zeiss Super Speeds are always a smart decision. They are as sharp as you need a lens to be especially stopped down, but shoot them wide open or at T2 and they are magic. They produce some of the best skin-tones of any lens I have every used. They are well-made, the set is very complete, and having T1.3 at any focal length is incredible.

They have just enough vintage character and imperfections without getting you in trouble ever. I don’t know if it's the special glass made from rare earth materials, or the magic T* coating, these lenses just make people look good. They produce big dramatic lens flares, have minimal breathing and excellent close-focus. From the SHINING to STRAIGHT OUTA COMPTON, there is a reason these lenses continue to be the go-to choice for so many DPs.

Matthew Duclos
COO of Duclos Lenses

Where do I even begin… The lenses that my technician career was founded upon - the Super Speeds are an absolute classic. Their performance is known world-wide. Ask any DP and they’ll have an opinion of the Super Speeds one way or another. I won’t bother going into the details of their characteristics here since you’ll either love them or hate them.

Watch the video test of them and you’ll see why they have a reputation in the motion picture world. Or better yet, get your hands on them and do your own tests. You won’t be disappointed.

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