Atlas Mercury - Full Frame 1.5x Anamorphic T2.2

36mm \ 42mm \ 54mm \ 72mm \ 95mm \ 138mm

Xelmus Apollo MK2 - Full Frame 2x Anamorphic T1.6 - 2.3

32mm \ 40mm ii \ 40mm iii \ 50mm \60mm \ 75mm \ 100mm \ 135mm

Kowa Prominar - 2x Anamorphic T2.3 Mirrorscope:

40mm \ 50mm \ 75mm \ 100mm

32mm 0.8x Adapter

Atlas Orion - 2x Anamorphic T2

32mm \40mm \ 50mm \ 65mm \ 80mm \ 100mm

Atlas Orion 1.6x Full Frame Expander

Optica Elite MK4 - 2x Anamorphic T2.3

40mm \ 50mm \ 75mm \ 100mm

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Arri Signature Primes T1.8 LPL (Germany 2018)

18mm \ 21mm \ 25mm \ 29mm \ 35mm \ 40mm \ 47mm \ 58mm \ 75mm \ 95mm \ 125mm

Impression V Filters: 140P \ 230P \ 330P

Cooke Panchro i Classic FF T2.2 (England 1960’s-2020’s)

18mm \ 21mm \ 25mm \ 27mm \ 32mm \ 40mm \ 50mm \ 65mm \ 75mm \ 100mm \ 135mm

Olympus OM Zuiko Rehoused PL T1.6-2.2 (Japan 1070's)

21mm \ 24mm \ 28mm \ 40mm \ 55mm \ 70mm \ 85mm \ 100mm

Zeiss Supreme Primes T1.5 (Germany 2010's)

21mm \ 25mm \ 29mm \ 35mm \ 50mm \ 65mm \ 85mm \ 100mm \ 135mm

Zeiss Nano Primes T1.5 E/RF (Germany 2020's)

18mm \ 25mm \ 35mm \ 50mm \ 75mm \ 100mm

Tribe7 Blackwings Custom “B” Tuned T1.9 (USA 2010's)

20.7mm \ 23.7mm \ 27mm \ 37mm \ 47mm \ 57mm \ 77mm \ 107mm \ 137mm

Nikon Nikkor Ai-s Rehoused PL T1.3-2.8 (Japan 1980’s)

18mm \ 24mm \ 28mm \ 35mm \ 50mm \ 85mm \ 105mm \ 135mm

Iron Glass MKII Soviet Helios Amber‍ ‍(Soviet 1960’s)

20mm \ 28mm \ 37mm \ 58mm \ 85mm \ 135mm

Canon FD T1.3-2.1 Rehoused PL (Japan 1970’s)

14mm \ 20mm \ 24mm \ 28mm \ 35mm \ 45mm \ 55mm \ 85mm \ 100mm \ 135mm

Canon Rangefinder Rehoused LPL T0.95-3.5

19mm \ 25mm \ 28mm \ 35mm \ 40mm \ 58mm \ 85mm \ 100mm \ 135mm

Mamiya Sekor C Medium Format PL (Japan 1970’s)

35mm \ 45mm \ 55mm \ 70mm \ 80mm \ 110mm \ 150mm

DZO Vespid APO T2.1 PL (China 2020)

12mm \ 16mm \ 21mm \ 25mm \ 35mm \ 50mm \ 75mm \ 90mm Macro \ 100mm \ 135mm

Leica-R F1.4-2.1 Cinevised-EF (Germany 1980-90s)

80’s F2.8 Elmarit: 24mm \ 28mm

80’s F2 Summicron: 35mm \ 50mm \ 90mm

90’s F1.4 Summilux: 35mm \ 50mm \ 80mm

90’s F2.8 Elmarit: 70-180mm

Pentax Super Takumar Cinevised-EF (Japan 1970’s)

20mm \ 24mm \ 28mm \ 35mm \ 50mm \ 65mm \ 85mm \ 135mm \ 150mm

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Fujinon Premista Cine Zooms:

Premista 19-45mm T2.9 PL FF

Premista 28-100mm T2.9 PL FF

Premista 80-250mm T2.9 PL FF

Fujinon Cabrio 19-90mm V2 T2.9 PL S35

Angenieux Optimo Zooms:

Optimo 16-40mm T2.8 PL/EF S35+

Optimo 30-76mm T2.8 PL/EF S35+

Optimo 48-130mm T3 PL/EF S35+

Optimo 25-250mm T3.5 PL/EF S35+

Optimo 24-290mm T2.8 PL S35

Angenieux EZ Lightweight Zooms:

EZ.1 30-90mm T2 PL/EF S35

EZ.2 15-40mm T2 PL/EF S35

EZ.1 45-135mm T3 PL/EF FF

EZ.2 22-60mm T3 PL/EF FF

Canon Cine ENG Zooms:

Canon 17-120mm T2.9 PL/EF S35
Canon 25-250mm T2.9 PL S35/FF (37-375mm FF)

Leica-R 70-180mm T2.9 LPL/EF FF

S35 Sony 18-110mm OS T4 E-Mount

DZO Cine Zooms T2.8:

S35 Pictor 20-55mm T2.8 PL/EF

S35 Pictor 50-125mm T2.8 PL/EF

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Zeiss Supreme Primes T1.5 PL Full Frame

21mm \ 25mm \ 29mm \ 35mm \ 50mm \ 65mm \ 85mm \ 100mm \ 135mm

Zeiss Nano Primes T1.5 E/RF Full Frame

18mm \ 25mm \ 35mm \ 50mm \ 75mm \ 100mm

Zeiss Master Primes T1.3 PL

18mm \ 25mm \ 35mm \ 50mm \ 85mm \ 100mm

Zeiss Ultra Primes T1.9 PL

16mm \ 20mm \ 24mm \ 32mm \ 40mm \ 50mm \ 85mm \ 100mm

Zeiss Super-Speeds MK2 T1.3 PL

18mm \ 25mm \ 35mm \ 50mm \ 85mm

Zeiss Standard-Speeds T2.1 PL

16mm \ 24mm \ 32mm \ 50mm \ 85mm \ 100mm

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Cooke Panchro i Classic Full Frame T2.2

Core 6-Lens Set: 18mm \ 25mm \ 32mm \ 50mm \ 75mm \ 135mm

Alternate 5-Lens Set: 21mm \ 27mm \ 40mm \ 65mm Macro \ 100mm

Cooke S4 T2.0

18mm \ 21mm \ 25mm \ 27mm \ 32mm \ 40mm \ 50mm \ 75mm \ 100mm

Cooke Mini T2.8

18mm \ 25mm \ 32mm \ 50mm \ 75mm \ 100mm

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Sony Gmaster E-mount Primes:

24mm \ 35mm \ 50mm \ 85mm \ 135mm ($35/lens/day)

Sony Gmaster E-mount Zooms:

16-35mm F2.8 ($40/day)

24-70mm F2.8 ($40/day)

24-105mm OS F4 ($35/day)

70-200mm OS F2.8 ($40/day)

200-600mm OS F5.6 ($125/day)

Sigma Art HSM E-Mount Primes

20mm \ 28mm \ 40mm \ 50mm \ 85mm \ 105macro ($35/lens/day)

Sony E-Mount 18-110 OS F4 ENG S35 Servo Cine Zoom ($95/day)

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Bausch & Lomb Super Baltars (TLS Rehoused)

20mm T2.3 \ CF 12“ \ 3.1 lb \ OD 110 \ S35+

25mm T2.3 \ CF 11“ \ 4.1 lb \ OD 110 \ S35+

35mm T2.3 \ CF 13“ \ 2.5 lb \ OD 110 \ S35+

50mm T2.3 \ CF 15“ \ 2.3 lb \ OD 110 \ FF

75mm T2.3 \ CF 20“ \ 3.2 lb \ OD 110 \ FF

100mm T2.3 \ CF 3’6“ \ 4.1 lb \ OD 110 \ FF

152mm T2.3 \ CF 5’ \ 5 lb \ OD 110 \ FF

Unlock the legendary look of classic Hollywood with this exceptionally rare, complete 7-lens set of Bausch & Lomb Super Baltars, meticulously rehoused by the experts at True Lens Services (TLS). Famously employed by Gordon Willis on The Godfather, these lenses defined the aesthetic of an era, delivering a timeless, painterly quality highly sought after by cinematographers today.

This pristine set features premier TLS mechanical rehousings, offering robust construction and smooth, modern usability while preserving the treasured optical characteristics of the original glass. The Super Baltars are renowned for their flattering, slightly lower-contrast image, beautiful focus fall-off, and distinct, characterful flares. They possess a unique ability to gently soften the often harsh sharpness of modern digital sensors, imparting a more organic, filmic texture to your visuals.

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Cooke Panchro Classic Full Frame Primes

18mm T2.2 \ CF 11“ \ 4.8 lb \ OD 125 \ FF

21mm T2.2 \ CF 11” \ 4.1 lb \ OD 110 \ FF

25mm T2.2 \ CF 13” \ 4.4 lb \ OD 110 \ FF

27mm T2.2 \ CF 13” \ 4.6 lb \ OD 110 \ FF

32mm T2.2 \ CF 13” \ 4.1 lb \ OD 110 \ FF

40mm T2.2 \ CF 13” \ 3.3 lb \ OD 110 \ FF

50mm T2.2 \ CF 16” \ 3.0 lb \ OD 110 \ FF

65mm T2.3 \ CF 13” \ 6.1 lb \ OD 110 \ FF

75mm T2.2 \ CF 30” \ 4.0 lb \ OD 110 \ FF

100mm T2.6 \ CF 24” \ 4.0 lb \ OD 110 \ FF

125mm T2.8 \ CF 33” \ 4.6 lb \ OD 110 \ FF

Available as full or custom 8+ sets, or as half-sets (18\25\32\50\75\125 or 21\27\40\65\100)

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Cooke’s Panchro/i Classic FF is a range of 12 lenses, key focal lengths having maximum aperture of T2.2. Precisely colour balanced and matched, ensuring the consistency across the series with the beloved Cooke Look.

The same coveted Cooke Look aesthetic as the now legendary Cooke Speed Panchro. Cinematographers talk about Panchro/i Classic as having qualities which enable to convey more emotion in their work, particularly with faces. Unique to the speed panchro optical design is the subtle focus fall-off gradient from center to edge of frame - a truly unique look among modern and vintage lenses.

Cooke’s /i Technology enables cameras to automatically record key lens data for every frame shot, allowing post-production teams to access it digitally. Featuring key information on lens setting, focusing distance, aperture and depth-of-field, hyperfocal distance, serial number and more, it streamlines production and post and saves time and cost to eliminate guesswork.

Olympus OM Zuiko Primes - Zero Optik

14mm FD T3 \ CF 9“ \ 2.1 lb \ OD 114 \ FF

21mm T2.2 \ CF 8” \ 1.3 lb \ OD 95 \ FF

24mm T2.2 \ CF 10” \ 1.5 lb \ OD 95 \ FF

28mm T2.2 \ CF 12” \ 1.6 lb \ OD 95 \ FF

40mm T2.2 \ CF 11” \ 1.7 lb \ OD 95 \ FF

55mm T1.6 \ CF 17” \ 1.9 lb \ OD 95 \ FF

70mm T2.2 \ CF 18” \ 2.3 lb \ OD 95 \ FF

85mm T2.1 \ CF 33” \ 2.7 lb \ OD 95 \ FF

100mm T2.1 \ CF 28” \ 4.1 lb \ OD 95 \ FF

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Experience the perfect fusion of legendary Olympus OM Zuiko optical design and state-of-the-art cine mechanics with this comprehensive 9-lens prime set, expertly rehoused by Zero Optik. Celebrated for their remarkable compactness, exceptional sharpness, and beautiful color rendition, OM Zuiko lenses offer a unique and highly sought-after vintage character for modern cinematography.

Olympus OM Zuiko glass, from Yoshihisa Maitani's innovative design philosophy, is renowned for crisp images and pleasing bokeh. Intriguingly, it's recognized within the industry that OM Zuiko elements formed the optical core of the legendary Moviecam lens series (later associated with ARRI), chosen for their exceptional quality. Lenses sharing this optical DNA were famously used by acclaimed cinematographers like Janusz Kamiński on iconic films such as 'Schindler's List' and 'Saving Private Ryan’.

Their inherent full-frame coverage makes them perfectly suited for today's digital cinema sensors, delivering a refined vintage aesthetic – blending sharpness with smooth focus roll-off and vibrant, natural colors. Ideal for filmmakers seeking high-performance vintage lenses with proven cinematic heritage and modern usability, this 9-lens set offers stunning images with confidence, precision, and a touch of Hollywood history.

Mamiya Sekor C - Rehoused PL (Medium Format)

35mm T3.5 \ CF 12” \ 3.2 lb \ OD 110 \ MF

45mm T2.8 \ CF 12” \ 2.8 lb \ OD 110 \ MF

55mm T2.8 \ CF 12” \ 2.7 lb \ OD 110 \ MF

70mm T2.8 \ CF 18” \ 3.2 lb \ OD 110 \ MF

80mm T1.9 \ CF 18” \ 3.4 lb \ OD 110 \ MF

110mm T2.8 \ CF 3’4” \ 3.8 lb \ OD 110 \ MF

150mm T2.8 \ CF 4’6” \ 4.2 lb \ OD 110 \ MF

0.7x PL-LPL Custom Speedbooster available to achieve 24mm FOV on Vista/LF sensors.

Offer a distinct and captivating visual signature with this comprehensive 7-lens set of Mamiya Sekor C medium format lenses, professionally rehoused for modern cinema production. Originally designed for the legendary Mamiya 645 system, their medium format heritage provides an expansive image circle, offering excellent coverage for even today's largest digital sensors (Alexa 65, Fuji Eterna, Blackmagic 17k). Perfect for cinematographers seeking a sophisticated blend of vintage charm and resolving power, these lenses deliver a rich, dimensional image with beautiful contrast handling, while covering

This meticulously curated set of seven primes features robust, cine-standard rehousing, ensuring seamless integration with follow focus systems, matte boxes, and professional camera builds. Experience reliable mechanics and precise control without sacrificing the prized optical qualities Mamiya is known for. Sekor C lenses are celebrated for delivering impressive sharpness across the frame, combined with smooth, pleasing bokeh and a characterful rendering.

Xelmus Apollo series is compact, light-weight, close-focusing, 2x anamorphic design with desirable flares.

32mm T2.0 \ CF 15” \ 3.4 lb \ OD 114 \ S35+

40mm ii T2.1 \ CF 12” \ 3.9 lb \ OD 104 \ S35+

40mm iii T2.0 \ CF 15” \ 4.4 lb \ OD 114 \ FF

50mm ii T1.7 \ CF 16” \ 3.9 lb \ OD 104 \ FF

60mm ii T1.6 \ CF 16” \ 3.8 lb \ OD 104 \ FF

75mm ii T2.0 \ CF 21” \ 4.3 lb \ OD 104 \ FF

100mm ii T2.3 \ CF 18” \ 4.4 lb \ OD 104 \ FF

135mm ii T2.8 \ CF 30” \ 5.4 lb \ OD 104 \ FF

Available as a full set, or half-set (32\40\60\100 or 40\50\75\135)

(Call or Email for pricing & availability)

Xelmus released their first prototype version of Apollo Lenses in 2020 (mark i), and by 2021 had updated the optical designs, internal mechanics, and element coatings (mark ii). Our Xelmus Apollo lenses are the most current version (mark ii) with updated optics, improved mechanics, and matching coatings. In 2023, Xelmus updated the 40mm design (mark iii) to achieve full frame coverage - we have both the mkii and mkiii version of that 40mm lens, as well as the newest lens in the series, the 32mm, and a pre-order for the ultra-wide 25mm !

One of the main features of Xelmus Apollo lenses is the anti-mump system created in 1954 by Mr. Gottschalk from Panavision. With that system, whilst focusing from infinity to the close point, the image stretches only in a vertical direction (vertical breath), the horizontal axis stays locked. Additional improvements have been discovered including extreme close focus of only few inches from front element.

The optics are much smaller than a front variable diopters design system – which means – they are lighter weight, with less chromatic aberrations, and have better light transmission. Xelmus Apollo’s are much shorter when compared to most other anamorphic lenses on the market.

24mm T2.2 \ CF 18” \ 3.8 lb \ OD 114 \ FF

36mm T2.2 \ CF 18” \ 2.7 lb \ OD 95 \ FF

42mm T2.2 \ CF 24” \ 2.3 lb \ OD 95 \ FF

54mm T2.2 \ CF 30” \ 2.9 lb \ OD 95 \ FF

72mm T2.2 \ CF 36” \ 4.4 lb \ OD 95 \ FF

95mm T2.2 \ CF 48” \ 4.7 lb \ OD 95 \ FF

138mm T2.2 \ CF 46” \ 3.9 lb \ OD 95 \ FF

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• Full-frame sensor coverage with 1.5x anamorphic coefficient

•Lightweight and compact at half the size and weight of most pro anamorphic lenses - 42mm weighs 2.3lbs (1.1kg) and measures 4.4in (11.2cm) in length

• Exceptional optical performance with vintage geometric personality: Golden flares, pleasing barrel distortion, near-zero chromatic aberration

• Standardized gears and diameters with 95mm front diameter

• Arri PL mount

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32mm Wide Angle Adapter T2.4 \ CF 3’

40mm T2.3 \ CF 3’ \ 2.1 lb \ OD 80 \ S35

50mm T2.5 \ CF 3’ \ 2.2 lb \ OD 80 \ S35+

75mm T2.8 \ CF 3’ \ 2.9 lb \ OD 80 \ FF

100mm T3.4 \ CF 5’ \ 3.3 lb \ OD 80 \ FF

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Iconic Japanese vintage anamorphic lenses from the 1960’s with beautiful strong flares over a warm low contrast rendering. Small and lightweight designs - inside modern rehousing - make handheld and gimbal work a breeze, as demonstrated on Greig Fraser’s ultra-mobile camera design for Gareth Edward’s The Creator (2023).

19-45mm T2.9 \ CF 24” \ 7.2 lb \ OD 114 \ FF

28-100mm T2.9 \ CF 31” \ 8.3 lb \ OD 114 \ FF

80-250mm T2.9 \ CF 5’ \ 8.3 lb \ OD 114 \ FF

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Premista Large-Format Cine Zooms from Fujifilm cover up to a 46.3mm image circle in addition to Super35 sensors. Fuji’s impeccable engineering and design eliminates all breathing, ghosting, chromatic aberration, and visible distortion, while producing controlled flaring, soft even bokeh, and excellent resolution. Superb image quality across all these metrics make for an excellent match to modern premium primes from Arri, Zeiss, Cooke, and others.

Compatibility with both ZEISS eXtended Data and Cooke /i Technology makes it easy to note your lens information for VFX work or matching shots.

Angenieux Optimo Style

16-40mm T2.8 \ CF 2’ \ 4.2 lb \ OD 114 / S35+

30-76mm T2.8 \ CF 2’ \ 4.2 lb \ OD 114 / S35+

48-130mm T3 \ CF 3’ \ 4.3 lb \ OD 114 / S35+

25-250mm T3.5 \ CF 4’ \ 16 lb \ OD 136 / S35+

Angenieux Optimo 12:1

24-290mm T2.8 \ CF 3’ / 24 lb / OD 162 / S35

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• Popular lightweight zooms (4.2 lb, 7 inch length) with larger S35+ image coverage (alexa mini open gate) compared to previous generation (academy 35 coverage).

• 4th generation 25-250mm, the signature focal range that has served the motion picture industry for the past 50 years

• Internal focus/zoom mechanism

• Constant T-stops throughout each zoom range

• Color reproduction matches the highly acclaimed OPTIMO lens series

• Internal focus, internal zoom, constant lens volume

• Extremely well controlled distortion and breathing

30-90mm T2 \ CF 2’ \ 4.7 lb \ OD 114 \ S35

15-40mm T2 \ CF 2’ \ 4.7 lb \ OD 114 \ S35

45-135mm T3 \ CF 2’ \ 4.5 lb \ OD 114 \ FF

22-60mm T3 \ CF 2’ \ 4.6 lb \ OD 114 \ FF

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Created to fill the wide gap between basic still photography zooms, and the highly acclaimed Optimo Style family of lenses used in the motion pictures industry, the Angénieux EZ series features three light weight zooms : the EZ-1, EZ-2 and the brand new EZ-3. Thanks to an innovative lens modular design, the EZ Series lenses allow the rear lens group to be exchanged between S35 and FF/VistaVision format coverage.

18mm T1.8 \ CF 12” \ 4.4 lb \ OD 114 \ FF

21mm T1.8 \ CF 12” \ 4.2 lb \ OD 114 \ FF

25mm T1.8 \ CF 12” \ 4.2 lb \ OD 114 \ FF

29mm T1.8 \ CF 12” \ 4.0 lb \ OD 114 \ FF

35mm T1.8 \ CF 12” \ 3.7 lb \ OD 114 \ FF

40mm T1.8 \ CF 12” \ 4.0 lb \ OD 114 \ FF

47mm T1.8 \ CF 16” \ 4.0 lb \ OD 114 \ FF

58mm T1.8 \ CF 16” \ 4.4 lb \ OD 114 \ FF

75mm T1.8 \ CF 24” \ 4.2 lb \ OD 114 \ FF

95mm T1.8 \ CF 32” \ 4.2 lb \ OD 114 \ FF

125mm T1.8 \ CF 38” \ 5.1 lb \ OD 114 \ FF

Arri Impression V Filters: 140p, 230p, 330p

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Ranging from 12mm to 280mm, the ARRI Signature Prime lenses offer a unique look never seen before in cinema. Warm, smooth skin; open shadows with crisp blacks; and bokeh like look through a window in the rain.

Stockings, nets, voile, and ARRI Impression V filters can be used to create custom diffusion and other effects when mounted in the Signature Prime's magnetic rear filter holder. Eleven iris blades produce smooth, rounded bokeh effects, and a telecentric design minimizes breathing. The integrated LDS-2 lens data system is backwards-compatible with ARRI's LDS-1 and communicates with Cooke's /i Technology.

Constructed with magnesium housings and aluminum gear rings, each Signature Prime is lightweight, water-resistant, and features focus marks in feet. Anti-reflective coatings, light baffles, and light traps help to minimize any internal barrel flare.

21mm T1.5 \ CF 14” \ 3.5 lb \ OD 95 \ FF

25mm T1.5 \ CF 10” \ 3.1 lb \ OD 95 \ FF

29mm T1.5 \ CF 13” \ 3.5 lb \ OD 95 \ FF

35mm T1.5 \ CF 13” \ 3.1 lb \ OD 95 \ FF

50mm T1.5 \ CF 18” \ 2.7 lb \ OD 95 \ FF

65mm T1.5 \ CF 18” \ 3.5 lb \ OD 95 \ FF

85mm T1.5 \ CF 33” \ 3.1 lb \ OD 95 \ FF

100mm T1.5 \ CF 45” \ 3.7 lb \ OD 95 \ FF

135mm T1.5 \ CF 54” \ 5 lb \ OD 114 \ FF

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Inheriting the renowned Zeiss T* coating from the famed vintage Super 35 Hi-Speeds and Master Primes, the new Zeiss Supreme Primes are now designed to cover Full Frame sensors (Arri LF, Sony Venice, RED Monstro/Raptor) and are significantly lighter and more compact than comparable lenses on the market. Most focal lengths weigh less than 3.5 pounds.

Equipped with the ZEISS eXtended Data metadata technology: Supreme Primes provide frame-by-frame data on lens vignetting and distortion in addition to the standard metadata provided by Cooke’s /i technology1 protocol. This streamlines workflows, particularly for VFX and virtual production.

Zero Optik Rehoused LPL

19mm T4.0 \ CF 6” \ 2.1 lb \ OD 110 \ FF

25mm T2.1 \ CF 8” \ 1.9 lb \ OD 110 \ FF

28mm T3.3 \ CF 11” \ 2.1 lb \ OD 110 \ FF

35mm T1.7 \ CF 12” \ 1.4 lb \ OD 110 \ FF

40mm T1.8 \ CF 11” \ 2.0 lb \ OD 110 \ FF

50mm T1.1 \ CF 13” \ 2.1 lb \ OD 110 \ FF

58mm T1.4 \ CF 19” \ 2.2 lb \ OD 110 \ FF

85mm T1.6 \ CF 26” \ 2.3 lb \ OD 110 \ FF

100mm T2.1 \ CF 26” \ 2.3 lb \ OD 110 \ FF

135mm T2.8 \ CF 4’ \ 2.5 lb \ OD 110 \ FF

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Canon’s 50mm f/0.95 “Dream Lens” is legendary among still photographers. Released in 1961, it was a technical marvel that was unrivaled in speed for nearly fifty years. This icon is famous for its warm images, expressive flares and razor-thin depth-of-field, but it also exists within a family of striking 1960s rangefinder lenses that share many of those same qualities. The entire set has single-layer amber coatings that lend a honey-hued tint to each frame and set these lenses apart from the multi-coated FDs and K35s of the 1970s.

14mm T3.1 \ CF 9” \ 2.4 lb \ OD 114 \ FF

20mm T3.1 \ CF 10” \ 1.4 lb \ OD 95 \ FF

24mm T1.6 \ CF 12” \ 1.7 lb \ OD 95 \ FF

28mm T2.2 \ CF 12” \ 1.7 lb \ OD 95 \ FF

35mm T1.6 \ CF 13” \ 2.1 lb \ OD 95 \ FF

45mm T1.7 \ CF 17” \ 1.4 lb \ OD 95 \ FF

55mm T1.4 \ CF 12” \ 2.0 lb \ OD 95 \ FF

85mm T1.4 \ CF 26” \ 2.2 lb \ OD 95 \ FF

100mm T2.1 \ CF 28” \ 2.2 lb \ OD 95 \ FF

135mm T2.1 \ CF 4’ \ 2.5 lb \ OD 95 \ FF

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Sharing the main attributes of their more famous K35 brethren, Canon’s FD lenses deliver similar warmth across a much larger range of focal lengths than the limited K35 set. The faster focal lengths tend to flare generously and many focal lengths feature strong character. In addition, a variety of lenses from Minolta, Yashica, Olympus and Vivitar bear a family resemblance to the general FD look and can be housed alongside FDs to create an even more substantial set. 

Set includes:
FD-X 35mm Minolta AF
FD-X 45mm Yashica

Nikon Nikkor Ai-s (1980's Japan)

18mm T2.9 \ CF 9“ \ 1.8 lb \ OD 114 \ FF

24mm T2.1 \ CF 8” \ 1.3 lb \ OD 95 \ FF

28mm T2.1 \ CF 10” \ 1.3 lb \ OD 95 \ FF

35mm T1.5 \ CF 12” \ 1.5 lb \ OD 95 \ FF

50mm T1.3 \ CF 11” \ 1.3 lb \ OD 95 \ FF

85mm T1.5 \ CF 12” \ 1.7 lb \ OD 95 \ FF

105mm T1.9 \ CF 18” \ 1.7 lb \ OD 95 \ FF

135mm T2.1 \ CF 35” \ 2.5 lb \ OD 95 \ FF

(Call or Email for pricing and availability)

20mm T3.6 \ CF 7” \ 1.6 lb \ OD 95 \ FF

28mm T3.6 \ CF 8” \ 2.0 lb \ OD 95 \ FF

37mm T2.9 \ CF 15” \ 1.6 lb \ OD 95 \ FF

58mm T2.1 \ CF 18” \ 1.6 lb \ OD 95 \ FF

85mm T1.6 \ CF 2’ 5” \ 2.9 lb \ OD 95 \ FF

135mm T2.9 \ CF 3’ 9” \ 3.0 lb \ OD 95 \ FF

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Soviet Lenses: Introduced as far back as 1950s, most of these lenses were based on Carl Zeiss optical formulas, which gave them a solid optical performance combined with unique image characteristics, such as dreamy flares, swirly bokeh, and overall painterly texture that can only be produced in-camera! These lenses are surprisingly sharp in the middle of the frame and have a gentle focus fall-off at the edges. They deliver excellent contrast and vibrant colours in controlled lighting conditions, but when you allow them to flare, they truly come alive, and their character shines through!

IronGlass Soviet lenses have been used on many major projects, including The Batman (2022), The Pope’s Exorcist (2023), The Creator (2023), and Dune: Part Two (2024).

MKII Rehousing: Following the success of our original (MKI) rehousing, we’ve released the MKII version with further improvements to make it suitable for the most demanding working environments. The MKII features a brand-new “Helicam” internal focus system, universal follow-focus gear positions, shimmable PL stainless steel mount, precise T-stop markings, reverse focus scales and many other improvements.

18mm T1.5 \ CF 9.8" \ 2.6 lb \ OD 95 \ FF

24mm T1.5 \ CF 13.8" \ 1.9 lb \ OD 95 \ FF

35mm T1.5 \ CF 17.7" \ 1.9 lb \ OD 95 \ FF

50mm T1.5 \ CF 19.7" \ 2.0 lb \ OD 95 \ FF

75mm T1.5 \ CF 29.5" \ 2.4 lb \ OD 95 \ FF

100mm T1.5 \ CF 39.4" \ 2.7 lb \ OD 95 \ FF

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Zeiss Nano Primes are cinema lenses designed for modern full frame mirrorless cameras - Sony E-mount and Canon RF mount.

The six focal lengths all feature a consistent high speed T1.5, small and robust cinema housings, interchangeable mount, and Zeiss eXtended Data for precise digital tracking.

Featuring the renowned Zeiss T* lens coatings -- cinematographers can rely on the performance, contrast, and beauty shared across the entire Zeiss lineup.

40mm T2.1 \ CF 40” \ 10.5 lb \ OD 156 \ S35

50mm T2.1 \ CF 40” \ 8.2 lb \ OD 136 \ S35

75mm T2.1 \ CF 40” \ 9.6 lb \ OD 136 \ S35

100mm T2.1 \ CF 40” \ 13.8 lb \ OD 125 \ S35

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Based on Soviet era LOMO “Round Front” vintage lenses, Elite Anamorphic IV lenses prioritized image over all else during their design at the turn of the century in Russia - resulting in fast, sharp, and well corrected lenses with softer oval bokeh layered beneath excellent anamorphic flaring - resulting in beautifully balanced emotional images, but also large and heavy physical lenses. The 50mm and 75mm are approachable for steadicam and handheld, but the 4-lens set is generally better suited for tripod and dolly work. Because the size and weight, Elite Anamorphics offer a rarer used look in modern filmmaking - a hidden gem for cinematographers looking for unique and excellent images.

32mm T2 \ CF 21” \ 4.7 lb \ OD 114 \ S35+

40mm T2 \ CF 24” \ 5.2 lb \ OD 114 \ S35+

50mm T2 \ CF 30” \ 5.0 lb \ OD 114 \ S35+

65mm T2 \ CF 33” \ 5.0 lb \ OD 114 \ S35+

80mm T2 \ CF 36” \ 6.0 lb \ OD 114 \ S35+

100mm T2 \ CF 42” \ 6.7 lb \ OD 114 \ S35+

1.6x LF Expander enables coverage on FF/LF/Vista

Available as a full set, or half-sets (32/50/80 or 40/65/100)

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Atlas Orion Series lenses combine the aesthetic of vintage front anamorphic lenses (waterfall bokeh, striking blue anamorphic flaring) with modern convenience, adaptability, and dependability. A classic look in an affordable package from a new American lens company, Orion Series has quickly become a staple of the industry across projects small and large, including Adam McKay’s Don’t Look Up (2021), and Damien Chazelle’s Babylon (2022).

17-120mm T2.95-3.9 \ CF 32” \ 6.3 lb \ OD 114 \ S35

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Canon 17-120 Cine-Servo zoom lens is the go-to unscripted (reality tv) zoom lens for S35 broadcast, due to it’s extremely wide focal range - enough to get a group shot in an elevator and a close up tight close up from across a livingroom - loved canon skintone rendition, and excellent weight distribution for shoulder handheld operation.

Your choice of PL or EF lens mount; both mounts provide 16-bit metadata to camera for frame matching, iris control, and focus readout. Optional Servo Grip can be removed to save weight or utilize wireless FIZ solutions from Arri, Preston, Teradek, etc…

Canon 25-250mm T2.95 Cine-Servo

High Zoom Magnification 10x, Focal Length 25-250 with 1.5x Extender (reaching 375mm extended range)

4K Optical Performance with Canon Cinema EOS Color Science

PL mount with Cooke/i Technology

11-blade Iris

Compact and Lightweight Lens (6.7lb)

Designed for Cinema Style and Broadcast Applications

19-90mm v2 T2.9 \ CF 34” \ 6.1 lb \ OD 114 / S35+

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The Fuji 19-90mm T2.9 Cabrio Lens is a wide to telephoto zoom lens for S35 cameras like Alexa Mini and Alexa 35. The focus, zoom, and iris barrels are geared with standard 0.8 film pitch. The rear PL mount features electrical contacts for sharing ARRI LDS and Cooke /i Technology lens data with the camera.

The longest and most versatile zoom range in a lightweight cinema S35 zoom lens - known as the best zoom option for indie features, documentary, and arm-cars for it’s it’s extended range, durability, and premium image performance.

The detachable drive unit is an ENG-style hand grip with a zoom rocker switch, 16-bit encoding, and an interface for remote control via a wired or wireless controller from Fujinon or other compatible third-party manufacturers. When the drive unit is attached to the lens, a digital auto-aligning system quickly and accurately calibrates it to the zoom, focus, and iris gears.

70-180mm T2.9 \ CF 5’ \ 4.0 lb \ OD 80 \ FF

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Rare beauty of a lens from 1990’s Leica - known for sharp, high-contrast, low flaring, and immaculate quality control - this lens already has low/no breathing, is parfocal, and covers Large Format, which makes it a no-brainer for cinema use with the included Duclos cine-modded focus, zoom, and iris gears, and Simmod LPL mount. An excellent choice to pair with our Leica-R LPL cine-mod prime sets, or a super lightweight full frame telephoto lens for outdoor adventure productions.

Designed to give a vintage feel to Arri Signature Primes, Arri Impression V Filters incrementally shift the image focus characteristics, enabling an range of detuned looks - easily customized on set without tools.

Whereas diopters are traditionally positioned in front of a lens to reduce its close-focus distance, Arri’s Impression V filters attach to the back of Signature lenses via the built-in rear magnetic filter adapter, altering the appearance of out-of-focus image elements (aka bokeh).

All bokeh is affected by the filter, but in general, the positive filters have a nostalgic, glamorous feel, with swirly bokeh, glowing skin tones and softer backgrounds, and negative filters have a grittier look, with inward-pulling bokeh and vibrant backgrounds.

The four positive Impression V filters are IV 070P, IV 140P, IV 230P and IV 330P. The four negative filters are IV 050N, IV 100N, IV 200N and IV 290N. The increasing numbers signify a stronger diopter effect.

The Impression V filters work with Arri’s Alexa 35, Alexa Mini LF, Sony Venice 1 & 2, RED Raptor, & RED DSMC2.

P+S Technik Skater Scope:

Skater Scope is a multipurpose specialty optical tool that achieves a wide array of creative and unique shots that are otherwise impossible to capture with standard lenses:

* Extreme Low & High Angles with the lens millimeters from surfaces

*Tight Spaces using the periscope function to bend around corners or redirect the lens

* Upside Down shots without flipping camera and monitors

* Tracking Shots on Curved Surfaces

* Barrel Rolls

* and more…

Skater Scope covers S35 PL lenses, at a T5.6 exposure.

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Laowa Pro2be Probe Lens Kit:

(1) Pro2be 24mm T8 Lens (Direct View)

(1) Pro2be 24mm T8 Lens (35° Angle)

(1) Pro2be 24mm T8 Lens (90° Angle “Periscope View”)

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The Laowa Pro2be 24mm T8 2X Macro lens is a unique tool for cinematography, particularly useful for capturing macro shots and unique perspectives in challenging environments. Its long, thin, and waterproof design, combined with its macro capabilities, allows cinematographers to get close to subjects in ways not possible with traditional lenses. 

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