ZEISS Compact Prime CP.3 and CP.3 XD Lenses

Tailored for today’s cinema and beyond.

Digital technologies have transformed traditional filmmaking and refashioned the market. New and innovative technologies in both production and post-production have paved the way for a more versatile, cost effective and advanced workflow. The ZEISS CP.3 family is the latest contribution from ZEISS to support creative and progressive filmmaking with an affordable, future-proof and premium quality lens set.

The ZEISS CP.3 lenses offer the perfect combination of high image quality and reliable usability. They exhibit the clean, crisp characteristics ZEISS is known for, together with an interchangeable mount system and full-frame coverage. The ZEISS CP.3 XD version features innovative and ground-breaking lens data technology to speed-up and simplify the workflow on set and in post-production.

The ZEISS eXtended Data is a unique technology which is based on the /i* Technology and provides information about the lens’ distortion and shading characteristics in real time. With the ZEISS CP.3 XD lenses, even small productions on a limited budget gain access to the advanced techniques common in state-of-the-art, big budget films, commercials and television shows.

Native Son

Director: James Cawley
Cinematographer: James Cawley
Shot On: ZEISS Compact Prime CP.3 Lenses

Morpho (Behind the Scenes)

Director: Toshikazu Kaneto
Cinematographer: –
Shot On: ZEISS Compact Prime CP.3 Lenses

Case 10-86

Director: Clinton Jones
Cinematographer: Jan-Michael Losada
Shot On: ZEISS Compact Prime CP.3 Lenses | RED Epic-W

Case 10-86 (Behind the Scenes)

Director: Clinton Jones
Cinematographer: Jan-Michael Losada
Shot On: ZEISS Compact Prime CP.3 Lenses | RED Epic-W

Exploring the beauty of Wales

Director: –
Cinematographer: –
Shot On: ZEISS Compact Prime CP.3 Lenses | RED Dragon | ARRI Alexa Mini

The Floor is Lava

Director: Clinton Jones
Cinematographer: Jan-Michael Losada
Shot On: ZEISS Compact Prime CP.3 Lenses | RED Epic-W

The Floor is Lava (Behind the Scences)

Director: Clinton Jones
Cinematographer: Jan-Michael Losada
Shot On: ZEISS Compact Prime CP.3 Lenses | RED Epic-W

Chemist - Artist - Architect

Director: –
Cinematographer: Adi Geisegger
Shot On: ZEISS Compact Prime CP.3 Lenses | ARRI Alexa Mini | Phantom Flex 2K

Chemist - Artist - Architect (Behind the Scenes)

Director: –
Cinematographer: Adi Geisegger
Shot On: ZEISS Compact Prime CP.3 Lenses | ARRI Alexa Mini | Phantom Flex 2K

As a cinematographer who works in remote places with minimal setups, I have loved working with the Zeiss CP.3 series. The high quality images these lenses produce are phenomenal and the size, smooth mechanics and weight of the lenses make them ideal for everything from handheld to gimbal use.

James Cawley, Cinematographer
Challenging perspective

Easily handled

Compact lenses are key when shooting in unusual or small spaces. The compact and lightweight design of the CP.3 and CP.3 XD lenses enables you to work in the most efficient way possible, no matter how challenging the set.

CP.3s won’t let you down when shooting handheld, with a gimbal, drone or Steadicam. Due to their consistent size and front diameter across all focal lengths, quick lens changes when used on different stabilizing systems are a breeze. In addition, as a result of their ultra-smooth focus rotation, small focus motors suffice to operate.

We take the stress out of your work, and make sure you have a smooth shooting day.

Compactness redefined

CP.3 lenses feature a consistent compact and lightweight design. They all have a front diameter of 95 mm / 3.7’’, weigh on average below 900 grams / 2 lbs and eight of ten lenses are roughly 84 mm / 3.3’’ long (CP.3 100 & 135: 126.5 mm / 4.98’’). This design enables you to easily use different stabilizing systems and to have a compact camera setup that is ideal for shooting in narrow spaces or with drones.

Lens change on the fly

Change the lens on your stabilizing system? Done in no time thanks to the CP.3s’ compact design. Due to their even weight and consistent size, recalibration of stabilizer and adjustments to the focus motor aren’t needed.

Like made for drone cinematography

Aircam is one of the world’s leading providers of aerial cinematography. Their work can be seen everywhere, from car commercials to Hollywood feature films. For their drone work, they rely on ZEISS CP.3 lenses. Watch "Create from above" to learn about their passion for aerial cinematography and why CP.3s are the right choice for their projects.

Overcome challenges

With lenses that truly deliver in all conditions

Sometimes work on set can get tough – beside long shooting days weather conditions can be tough as well. In situations like this you need cine lenses that are as robust as you are. ZEISS CP.3 and CP.3 XD lenses are built to deliver.

Before they go to work on set these lenses go through a long journey, enduring a battery of tests in our environmental lab. We stress test every situation: heavy rain, dropping, vibration, endurance of the focus ring, different temperatures (-40°C and +70°C), dust sealing, to guarantee a long life and full functionality of our cinema lenses.

Will dust and sand harm my lenses?

As every DOP knows, sand and dust aren’t friends of any optical system. Sometimes shooting on a beach or in the desert can be a dusty job. In our test lab, we spray the ZEISS CP.3 with extremely small particles of dust (talcum powder) for eight hours. That's how we ensure that they maintain their smooth focus rotation – which they are famous for – even when you're shooting in dusty, dirty or sandy environments. With this sealing test we are confident that the lens barrel is sealed and can withstand the smallest of particles.

Filming in humid or wet conditions?

Humidity, rain, cloudbursts – you can’t change the weather, but you can choose proper equipment for these conditions. ZEISS CP.3 lenses have integrated felt seals. These seals ensure that water can´t enter the optical system. Of course we recommend protecting your gear, but sometimes it is impossible to avoid some drops on the barrel. In our water resistance test, we make sure water droplets can’t harm the functionality of your ZEISS CP.3 lenses in any way. This is how we take the stress out of your work, and make sure you have a smooth shoot.

Going off-road with your lenses?

CP.3 mechanics are the result of knowledge gained by our mechanical designers over the last 90 years. We know that when you’re travelling with lenses, both the lens and its case can at times be dropped or subjected to hard shocks. Or even when the lens is mounted on a camera, sometimes CP.3 lenses need to be robust and very resistant. We test our lenses on a mechanical shaker with an amplitude of 1.6G, from 20 to 500 Hz and simulate a harsh off-road trip.

Facing extreme temperatures?

From Sahara to Siberia: the ZEISS CP.3 and CP.3 XD lenses can withstand even the most extreme temperatures. Today you are preparing for a shoot in Dubai, one month later maybe in the Rocky Mountains – with the crew and lenses facing very different temperatures and humidity conditions. We subject our lenses to a climatic test with extreme heat (+70 degrees Celsius) and extreme cold (-40 degrees Celsius). After passing this lens stress test, we guarantee full usability on set down to -20°C and up to 55°C. Now you can focus on your work – with full confidence in the reliability of your lens.

True cine look

The ZEISS CP.3 lenses feature advanced lens coatings, painted lens rims and special light traps within the barrel to eliminate unwelcome veiling glare and flares. The result is higher contrast, richer blacks and more saturated colors.

Ultimate cine ergonomics

The ZEISS CP.3 lenses are a professional toolset that simplifies your work on set. They are easy to handle, allow for fast changeover of equipment and give you great creative freedom to make your ideas come to life.

ZEISS eXtended Data technology

Simplify and increase the accuracy of the image capturing and processing workflow. ZEISS eXtended Data unifies two data sets: key lens data based on the Cooke /i* Technology and the ZEISS distortion and shading lens data. After recording on set together with the video files, they can be applied in post-production for compositing for example by using the ZEISS developed lens plugin.

Technical Data

  Aperture Close Focus1 Length2 Front diameter Weight Horizontal Angle of View

 

 

 

 

 

 

Fullframe3

APS-H4

Super 355

Normal 356

APS-C7

MFT8

CP.3 & CP.3 XD 
15 mm/T2.9

T 2.9 to
T 22

0.3 m
12"

83.7 mm
3.30"

95 mm
3.7"

0.87 kg
1.9 lbs

100°

90°

79°

73°

73°

60°

CP.3 & CP.3 XD 
18 mm/T2.9

T 2.9 to
T 22

0.3 m
12"

83.7 mm
3.30"

95 mm
3.7"

0.86 kg
1.9 lbs

89°

80°

69°

63°

64°

51°

CP.3 & CP.3 XD 
21 mm/T2.9

T 2.9 to
T 22

0.24 m
10"

83.7 mm
3.30"

95 mm
3.7"

0.82 kg
1.8 lbs

81°

71°

61°

55°

56°

45°

CP.3 & CP.3 XD 
25 mm/T2.1

T 2.1 to
T 22

0.26 m
10"

83.7 mm
3.30"

95 mm
3.7"

0.82 kg
1.8 lbs

72°

62°

53°

47°

48°

38°

CP.3 & CP.3 XD 
28 mm/T2.1

T 2.1 to
T 22

0.24 m
10"

83.7 mm
3.30"

95 mm
3.7"

0.84 kg
1.9 lbs

65°

57°

48°

43°

43°

34°

CP.3 & CP.3 XD
35 mm/T2.1

T 2.1 to
T 22

0.3 m
12"

83.7 mm
3.30"

95 mm
3.7"

0.80 kg
1.8 lbs

54°

47°

39°

35°

35°

28°

CP.3 & CP.3 XD 
50 mm/T2.1

T 2.1 to
T 22

0.45 m
18"

83.7 mm
3.30"

95 mm
3.7"

0.77 kg
1.7 lbs

40°

34°

28°

25°

25°

20°

CP.3 & CP.3 XD 
85 mm/T2.1

T 2.1 to
T 22

1.0 m
3'3"

83.7 mm
3.30"

95 mm
3.7"

0.88 kg
1.9 lbs

24°

20°

17°

15°

15°

12°

CP.3 & CP.3 XD 
100 mm/T2.1 CF
9

T 2.1 to
T 22

0.7 m
2'6"

126.5 mm
4.98"

95 mm
3.7"

1.01 kg
2.2 lbs

20°

17°

14°

13°

13°

10°

CP.3 & CP.3 XD 
135 mm/T2.1

T 2.1 to
T 22

1.0 m
3'3"

126.5 mm
4.98"

95 mm
3.7"

1.15 kg
2.5 lbs

15°

13°

11°

Remarks:
1) Close focus distance is measured from the image plane
2) Front to PL mount flange
3) Horizontal angle of view for a full-frame camera (aspect ratio 1:1.5, dimensions 36 mm x 24 mm / 1.42“ x 0.94“)
4) Horizontal angle of view for an APS-H camera (aspect ratio 1:1.81, dimensions 30.2 mm x 16.7 mm / 1.19“ x 0.66“)
5) Horizontal angle of view for an ANSI Super 35 Silent camera (aspect ratio 1:1.33, dimensions 24.9 mm x 18.7 mm / 0.98“ x 0.74“)
6) Horizontal angle of view for a Normal 35 Academy camera (aspect ratio 1:1.37, dimensions 22 mm x 16 mm / 0.87“ x 0.63“)
7) Horizontal angle of view for an APS-C camera (aspect ratio 1:1.50, dimensions 22.3 mm x 14.9 mm / 0.88“ x 0.59“)
8) Horizontal angle of view for a Micro 4/3 (MFT) camera (aspect ratio 1:1.33, dimensions 17.3 mm x 13 mm / 0.68“ x 0.51“)
9) CF: Close focus capability

ZEISS Compact Prime CP.3 and CP.3 XD Lenses

Brochure

Mount Change Instructions

ZEISS Compact Prime CP.3 Lenses

Depth of Field Tables

ZEISS Compact Prime CP.3 Lenses

Firmware Update

ZEISS CP.3 XD, Supreme Prime and Supreme Prime Radiance Lenses

Firmware v1.71 improves the data exchange between the lenses and Sony Venice cameras. A special connection kit is needed consisting of the lens connector, a DC power supply, the RS232 plug and a USB /RS232 converter. It is available at the ZEISS Service stations and can be ordered from ZEISS Customer Care Center.

ZEISS Lens Data Revision Tool for CP.3 XD 18/T2.9

If your ZEISS CP.3 XD 18/T2.9 lens only sends static shading data while opening and closing the aperture, the use of the Lens Data Revision tool is recommended.

Lens Data Viewer

ZEISS eXtended Data

ZEISS Data Viewer allows you to communicate with a CP.3 XD, Supreme Prime or Supreme Prime Radiance Lens using a computer and read out lens parameters.

Rental and Dealer Locator

Find out where to buy or rent the ZEISS Cinematography lenses!

Rental and Dealer Locator

Find out where to rent or buy the ZEISS Cinematography lenses!