Brian:

If your Nikons open to f1.4, then theoretically you should get the same light transmission as a Zeiss Superspeed that costs probably 10x as much (if the f-stop equals the same rated T-stop measurement). The differences between still and cine lenses do exist, much of it mechanically based, but for the purposes of shooting with a Mini35 you will probably be just as content with the still lenses as long as you are able to equip them to follow focus such as with Dan Diaconu's setup.

I am equipped with a Chroszeil follow focus system and mattebox =) You actually cleared up a lot for me regarding lenses. Now I understand why they are called 35mm 1.4, 2.8 etc. The numbers correspond to the amount of light that come in. THANKS! I am also getting my Nikons geared soon to make use of the follow focus.

Good deal. Me too.

Thank you Charles, I owe you one! (gear?)

What about this... http://cgi.ebay.com/Cooke-4in-2-Panc...QQcmdZViewItem

Zeiss Digi Primes vs. Cooke on the P+S Technik
 

Hi all,

Planning a show on the JVC HD-100 with a P+S Technik to control the depth of field issues that come with 1/3" cameras. Question is, what to put on the front end?

I've heard raves about the new Zeiss Digi Primes. Cooke S4's are already in a class by themselves. I'm wondering if anyone has had a chance to work with both, and what they'd go with next time.

If you can provide relative advantages of each, the detail would be very welcome.

Cheers,

Alex

The Zeiss Digi Primes are for use on 2/3" HD cameras like the Sony F900 and the Viper, so you wouldn't use them on a 35mm adapter. Although, you could mount them directly onto the HD 100 with the 2/3" adapter that is available.

The Digi Primes are the sharpest lenses you can use on a 2/3" camera, although Panavision with their Primo range of lenses might disagree.