First of all I have to admit that I don’t own any of those lenses. This is more a collection and comparison of the information available on the internet.

The latest ZEISS Loxia family of lenses, consisting of the ZEISS Loxia 2.8/21, ZEISS Loxia 2/35 and ZEISS Loxia 2/50.
The latest ZEISS Loxia family of lenses, consisting of the ZEISS Loxia 2.8/21, ZEISS Loxia 2/35 and ZEISS Loxia 2/50.

At first glimpse it’s clear that these are all very different lenses, technically quiet hard to compare. But from a buyers side of view it’s obvious to compare them!

All lenses are primes and native to the Sony E-Mount and full frame.

At the moment there are six different lenses on the market. (German prices 5/15/16)
Zeiss Batis 2.8/18 – AF / 330g / 95mm * 100mm / ~1500€
Zeiss Batis 2/25 – AF / 335g / 92mm * 81mm / ~1270€
Zeiss Batis 1.8/85 – AF / 475g / 105mm * 81mm / ~1200€
Zeiss Loxia 2.8/21 – NOAF / 394g / 85mm * 62,1mm / ~1500€
Zeiss Loxia 2/35 – NOAF / 340g / 66mm * 62,1mm / ~980€
Zeiss Loxia 2/50 – NOAF / 320g / 66,2mm * 61,1mm / ~840€

Here’s what the internet thinks about them…

Zed ProMedia – Testing and Thoughts – Zeiss Batis 25mm f2 – in 4K
DigitalRev – Zeiss Batis 25mm f/2 & 85mm f/1.8 Hands-on

Jay SonyAlphaLab – Zeiss Loxia 35mm F2 Lens Review – Full Frame E Mount
Steve Huff – Zeiss Loxia Lenses for Sony E Mount. Full Frame. 35 and 50 f/2 – zeiss loxia 2.8/21 review

tags: GoPro, Davinci resolve, time lapse, uhd, Blackmagic

The Target
The target of this tutorial should be video footage with specific frame size and fps out of a series of single images, using Blackmagic Designe: Davinci Resolve.

Here you can see the final rendering with 10 seconds of logo in front.

Get Blackmagic Design: Davinci Resolve
You can download the Software for free right on the site of Blackmacig Design. As far as I see, there are no limitations to the use of your final footage. Commercial or non-commercial. However, the free version of the software may be limited to spesific frame size and/or codecs.

We will use some standard footage from a GoPro. Meaning 367 single 4k pixel wide *.jpg files.

Standard GoPro footage.

Load your footage
– Obviously you have to start up the software first. – Create a new project with a useful name. – Before adding any media to the media pool, go to File > Project Settings. – Here we should change the settings for resolution and frame rate to something we want for our final rendering.
I’m using an UHD resolution and 30 frames per second.

Whiteout this step, the output tends to end up with unwanted settings.

– Now we can search for the folder with our input files – and than drag and drop them into the media pool. – One right click on the media file in the media pool and we can create a new time line using the selected clips.

Rescale and place
– To place and rescale the frame go to the edit tab of Davinci Resolve – and click your time line – and than on the inspector icon (right upper corner). – Here we might change the said settings.
I will use fill as scaling setting and a negative y value for the position to place my frame.

Render the footage
– For the last step go to the deliver tab. – Choose your output setting on the left – and add the file to the render queue. – Start rendering.