ZEISS eXtended Data. Expanding your possibilities.
The ZEISS Know-How Hub is our central spot, where we take a closer look at different optics topics and technologies. Our goal is to help you better understand the more technical aspects of not only our products and services but also cinematography lenses in general and how technology can support you in your artistic pursuit. We will add new topics to the Know-How Hub on a regular basis.

Based on the Cooke /i Technology
ZEISS eXtended Data reduces workflow costs and facilitates the exchange of lens information between the production and post-production departments.

On set
ZEISS eXtended Data enables members of the crew to monitor lens settings in real-time, pre-visualize modified images and to use new, automated search functions within data wrangling.

Post-production
No need for data from shooting grids and grey cards anymore. Work with distortion and shading data provided straight from the lens: more efficient and precise – especially in compositing.

Plugins for Compositing Software
Additional plug-ins provided by ZEISS allow for an easy implementation of ZEISS eXtended Data in a number of leading software tools.
Workflow
ZEISS eXtended Data's easy workflow enables you to provide the lens characteristics from the film set straight to post-production:-
Record the real-time processed data frame-accurate
- Directly to the camera via a 4-pin interface (PL/LPL mount). Currently this is supported by RED DSMC2 bodies and will be supported by SONY Venice and SONY Venice 2 (from FW 4.0) or
- With a range of universal external 3rd party tools via the on-barrel 4-pin connector.
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Use the ZEISS plugin for Nuke or After Effects to easily incorporate the recorded data together with the video files (.r3d, .exr, .ari, ProRes) into post-production. Accelerate your VFX work and make it more accurate.
Resources
These easy to understand video tutorials will guide you through the different benefits and options that ZEISS eXtended Data will offer for your production.Downloads
Download different whitepapers and software tools of theZEISS eXtended Data.-
For more in-depth information on how to setup and implement eXtended Data, you can download our setup guides and white papers:
- Record and use ZEISS eXtended Data using SONY Venice camera
- Record and use ZEISS eXtended Data using RED DSMC2 camera
- Record and use ZEISS eXtended Data using ARRI camera and Transvideo StarliteHD-m
- Record and use ZEISS eXtended Data using any camera and Ambient MasterLockit Plus
- Apply lens characteristics using ZEISS eXtended Data plugin for NUKE
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This software allows to inject eXtended Data into EXR file sequences for use with ZEISS Nuke Plugin. It extracts the data from the RAW video files (RED, SONY) or reads them from ZLCF files.
- Injection Tool (Win)
- Injection Tool (Mac)
- Injection Tool (Linux)
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After recording eXtended Data 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:
- Nuke (Win)
- Nuke (Mac)
- Nuke (Linux)
- Adobe After Effects (Win)
- Adobe After Effects (Mac)
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ZEISS Data Viewer allows you to communicate with a CP.3 XD, Supreme Prime, Supreme Prime Radiance or Supreme Zoom Radiance Lens using a computer and read out lens parameters.
- Lens Data Viewer
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/i is a registered trademark of Cooke Optics Limited used with permission.
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2
Shading in this case refers to the darkened corners of the captured image on sensor, due to illumination loss towards the outside of the image field. ZEISS lenses with XD technology contain the data for this characteristic, enabling higher precision of post processing and greater creative freedom in post-production. The shading effect can also be intensified for creative purposes. Shading does not refer to color shading, which is a phenomenon that sometimes accompanies color shifting, resulting in darker corners with magenta, green and purple color casts. Shading does not refer to vignetting, which is caused when the lens’ image circle is smaller than the image sensor, or by the inaccurately sized matte boxes and/or multiple filter stages in front of the lens, which blocks the optical path of the light into the lens.