CP.2 have a diameter equal to the Master Prime (114mm) and as many marqued point for the depth of focus. Calibrated focus scale, 331° on the whole serie. Which makes this lenses extremely precise in their focus.
The depth of focus and f-stop ring all have the same location and the lenses all have the same size (besides the 100mm). Which make the switching of lenses very fast.
Inspite of an important diameter and an image equivalent to twice the Super35’s format, the use of the latest material has permitted the manufacturation of extremely light lenses.
CP.2 are ideal lenses for shoulder work.
The CP.2 optical quality is unanimous. Thanks to the latest technology coating system combined with light traps, allowed by the large diameter of the lenses, there is absolutly no flare. The full size 24x36 captor allows a very hight definition on the entire field. It has all the advantages of a 35mm serie on a 16mm camera...
To the opposite of an argentic film’s surface, wich is completely mat, the digital captor reactes like a mirror. This creates a reflection of light rays inside the lenses, creating flare, hot spots/gost images but particularly a diffusion that greatly degrates the image's quality. It makes it difficult to use of a certain number of older lenses such as the Zeiss HS T1,3 serie or the Cooke S4 serie (the Zeiss UP serie have very good results despite their twelve years of age and the MP... are the MP!)
The optical coating treatment has become crutial with digital captors and HD. It has given birth to new optical technology. Captor as big as a match's head including 14MP, have largely contributed to optical research. Nowdays, HD lenses greatly benefit of it .
It is very simple to reproduce the « softness » of vintage lenses in post production, on the other hand it is very difficult to redifine images that are too « soft » without producing an artificial effect in the transition zones. It is as well very easy to create flares in post production. (… when you master the process).
We find an other specific optical caracteristic concerning captor, wich is not often mentionned: telecentricité. Even when very slanted, light rays use to react with argentic film all the way into the corners. On the other hand, the captor is composed of small pits that are less receptif in the corners (the reason why captors produce much more vignetting effect and have a tendency of a greater dicrepancy of sharpness between the center and the edges).
CMOS manufacturors have found a solution by covering the captors with a microlense system. They allow the redirection of light rays. It reduces the vignetting phenomenon. The real solution defenetly stays narrow centered lenses, like the C.P.2.
The serie C.P.2 STANDARD include 8 focale length : 18- 21- 25- 28- 35- 50- 85- 100mm.
The serie C.P.2 ETANDUE onclude 10 focale length : 15 – 18 – 21 – 25 – 28 – 35 – 50 – 85 – 100 et 135mm.
They are available at NEONCAM with gradation in meter or inches.
Each serie is associated with a camera's body wich makes it very convenient and ready to be used. An other important detail: follow rings are engraved on each series.
In comparision to the C.P.1, C.P.2 have received a new iris diaphragm, wich allows very natural blurs. The standard aperture prority as been changed from T1.5 to T2.1. The definition curve is much higher even in full exposure and the lenses ready to be used at nominal aperture loading.
The CP-2 optical formula is very simple and symetrical, with very few opitical glasses (each group can be seperated by a light trap). This simplicity allows a complete control of flares and the symetry eliminates le pompage/all pumping. The 18mm opens at T3,5 ans the 21 and 25mm open at T2,9 because of their large optical circle. Distortion and vignetting are absolutly none existant.