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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.
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Native Son
Director: James Cawley Cinematographer: James Cawley Shot On: ZEISS Compact Prime CP.3 Lenses
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Morpho (Behind the Scenes)
Director: Toshikazu Kaneto Cinematographer: – Shot On: ZEISS Compact Prime CP.3 Lenses
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Case 10-86
Director: Clinton Jones Cinematographer: Jan-Michael Losada Shot On: ZEISS Compact Prime CP.3 Lenses | RED Epic-W
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Case 10-86 (Behind the Scenes)
Director: Clinton Jones Cinematographer: Jan-Michael Losada Shot On: ZEISS Compact Prime CP.3 Lenses | RED Epic-W
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Exploring the beauty of Wales
Director: – Cinematographer: – Shot On: ZEISS Compact Prime CP.3 Lenses | RED Dragon | ARRI Alexa Mini
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The Floor is Lava
Director: Clinton Jones Cinematographer: Jan-Michael Losada Shot On: ZEISS Compact Prime CP.3 Lenses | RED Epic-W
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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
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Chemist - Artist - Architect
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.
Challenging perspectives easily handled
The look you define for a shoot deserves only the best quality. The ZEISS Compact Prime CP.3 and CP.3 XD lenses deliver it. Say hello to higher contrasts, richer blacks and more saturated colors. Say goodbye to unwelcome veiling glare and flares, thanks to advanced coatings, painted lens rims and light traps within the barrel. Watch some nice examples of the CP.3s' versatile look below.
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Olfiction
Shot on ZEISS CP.3 Lenses
The short film 'Olfiction' deals with the memories of a past love, induced by the sense of smell. Shot with ZEISS Compact Prime CP.3 lenses on Sony FX-9.
Director of Photography: Beth Napoli
Director: Matt Klamm
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Olfiction
Behind the Scenes
Join us behind the scenes of shortfilm 'Olfiction' and learn from DoP Beth Napoli and director Matt Klamm how they visually approached the story of memories of a past love, induced by the sense of smell.
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Showreel 2020
ZEISS Compact Prime CP.3
Thanks to the cinematographers: Thomas Adolph, Uno Castillo, James Cawley, Farhad Dehlvi, Adi Geisegger, Jonathan Jones, Toshikazu Kaneto, Danna Kinsky, Jan-Michael Losada, Daniel Marks, Michael Murphy, Byron Pace, Darrly Pace, Joseph Rubinstein, William Tang, Jeanne Tyson
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.
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.
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.
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.
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.
A future-proof investment thanks to interchangeable mounts
The ZEISS CP.3 and CP.3 XD lenses are equipped with an easy-to-operate, interchangeable mount system. It enables you to switch quickly from a typical cine-style PL-mount to four other mounts (Canon EF, Nikon F, Sony E, MFT). A truly great feature that promises a flexible and future-proof investment in today’s rapidly developing camera market.
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.
Automatic transfer of electronic scales and depth of field
The new Firmware 1.90 enables all ZEISS Supreme, Supreme Radiance, and CP.3 XD lenses to automatically transfer information about lens scales and depth of field to ARRI Hi-5 and WCU-4 hand units when using ARRI cameras and the ARRI LCS. This eliminates the need for camera assistants to manually calibrate their lenses, saving valuable time and effort on set.
Technical Data
ZEISS Compact Prime CP.3 and CP.3 XD Lenses
Aperture
Close Focus1
Length2
Front Diameter
Weight
Horizontal angle of view
Full Frame3
Horizontal angle of view
APS-H4
Horizontal angle of view
Super 355
Horizontal angle of view
Normal 356
Horizontal angle of view
APS-C7
Horizontal angle of view
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 CF9
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°
9°
9°
7°
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