ARRI Signature Primes
Designed for use with full-frame, large-format sensors, the versatile ARRI Signature Primes also cover Super 35. Dedicated LF Open Gate, and Super 35 Open Gate magnetic format masks enable you to switch between formats, and are included with the lens. Stockings, nets, and voile can be used for diffusion when mounted in the Signature Prime’s rear net holder. Eleven iris blades produce smooth, rounded bokeh effects, and a telecentric design minimizes breathing. The 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
SPECS:
Lens Mount: LPL Mount
Maximum Aperture: T1.8 (200mm – T2.5)
Front Diameter: 114mm
Lenses Available: 12mm/ 15mm/ 18mm/ 21 mm/ 25 mm/ 29mm/ 35mm/ 40mm/ 47mm/ 58mm/ 75mm/ 95mm/ 125mm/ 150mm/ 200mm
Arri/ Zeiss Macro
ARRI has produced a range of Macro Prime lenses for cinema use. Each is capable of extreme close focus with the 50mm and 100mm lenses achieving 1:1 magnification. The unique ARRI design also offers an auto compensating iris function, eliminating stop loss guess work.
SPECS:
Lens Mount: PL Mount
Format Coverage: Super 35
Focal Lengths Available: 16mm/ 24mm/ 32mm/ 40mm/ 50mm/ 60mm/ 100mm/ 200mm
Maximum Aperture F-No. 16mm – 40mm; T2.1/ 50mm – 100mm; T3.0/ 200mm; T4.3
Minimum Focus: 16mm – 6″/ 24mm – 7″/ 32mm – 9″/ 40mm – 10″/ 50mm – 8″/ 60mm – 11″/ 100mm – 1’2″/ 200mm – 1’11”
Front Diameter: 80mm
Arri/Zeiss 11-110mm T2.2 S16
SPECS:
Mount: PL Mount
Focal Length: 11-110mm
Maximum Aperture F-No. 1 : 2.2
Minimum Focus: 5ft cf w/ macro at 11mm
Length: 182.5 mm
Weight: 1.5kg
ARRI/ZEISS Super16 Standard Speeds
The ARRI Zeiss Standard Speed MKII PL primes are serious industry players and have been for over 45 years and still are today.
Small, solid, lightweight, fast enough at T2.1 and have an organic sharpness and fall-off bokeh which is different to modern lenses, they also have slightly more contrast too. The Standard Speed MKII primes have plenty of character, personality and history. They bring an additional filmic aesthetic to modern digital cameras.
SPECS:
Mount: PL Mount
Front Diameter: 9.5mm – 50mm; 80mm
Focal Lengths Available: 8mm/ 9.5mm/ 16mm/ 25mm/ 50mm
Maximum Aperture: F-No.-: 8mm – 1 : 2.1/ 9.5mm – 1 : 1.3/ 16mm – 1 : 1.3/ 25mm – 1 : 1.3/ 50mm – 1 : 1.3
Minimum Focus: 8mm – 8″/ 9.5mm – 10″/ 16mm – 8″/ 25mm – 10″/ 50mm – 2″ 4″
Weight: 8mm – 1.2lbs/ 9.5mm – 1.6lbs/ 16mm – 1.6lbs/ 25mm – 1.4lbs/ 50mm – 1.8lbs
ARRI/ZEISS Ultra Primes S16
Cinematic Quality For Super 16
Like the Master Primes, the Zeiss Ultra 16 lenses combine high speed with outstanding optical performance. With a widest stop of T1.3 they create shallow depth of field and allow shooting on tight lighting budgets or under severe time pressure. Equaled by no other Super 16 lenses in optical performance, they join the other ARRI lenses in elevating the Super 16 image to its highest possible quality.
All nine Ultra 16 lenses (6, 8, 9.5, 12, 14, 18, 25, 35, 50 mm) cover the full Super 16 format and are fully compatible with the optical quality, color balance and ergonomics of the other ARRI lenses.
The Zeiss Ultra 16 lenses are the perfect companions to the Super 16 cameras, the ARRIFLEX 416, 416 Plus and 416 Plus HS.
SPECS:
Mount: PL
Maximum Aperture F-No.: 1 : 1.3
Front Diameter: 95mm
Focal length: 6mm/ 8mm/ 9.5mm/ 12mm/ 14mm/ 18mm/ 25mm/ 35mm/ 50mm
Minimum Focus: 6mm – 8″/ 8mm – 1’/ 9.5mm – 1’/ 12mm – 1’/ 14mm – 1’/ 18mm – 12″/ 25mm – 12″/ 35mm – 14″/ 50mm – 16″
Weight: 6mm – 2.2 lbs/ 8mm – 2.2 lbs/ 9.5mm – 2 lbs/ 12mm – 2.4 lbs/ 14mm – 2.1 lbs/ 18mm – 2.6 lbs/ 25mm – 2.6 lbs/ 35mm – 2.4 lbs/ 50mm – 2.6 lbs
Atlas Lens Co. Mercury 138mm T2.6 1.5x Anamorphic Prime Lens (PL Mount, Feet)
- This lens creates 1.5x the horizontal field with the same vertical field of view as a similar spherical lens.
- It offers a vintage anamorphic look with golden flares, pleasant barrel distortion, and almost no chromatic aberration.
- The Mercury lenses feature cine-standard 0.8 MOD gearing, a 95mm front diameter, and focus marks in feet.
- The standardized 95mm front diameter is compatible with many filters and matte boxes.
Specs
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| Lens Format Coverage | |
| Filter Thread | |
| Image Stabilization | |
| Electronic Communication |
| Maximum Aperture | |
| Minimum Aperture | |
| Lens Mount | |
| Horizontal Squeeze (Anamorphic) | |
| Flare Color | |
| Lens Format Coverage | |
| Angle of View | |
| Focus Scales | |
| Filter Thread | |
| Minimum Focus Distance | |
| Aperture/Iris Blades | |
| Image Stabilization | |
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| Electronic Communication | |
| Diameter | |
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Atlas Lens Co. Mercury 42mm T2.2 1.5x Anamorphic Prime Lens (PL Mount, Feet)
1.5x Vintage Anamorphic Look
- This lens creates 1.5x the horizontal field with the same vertical field of view as a similar spherical lens.
- It offers a vintage anamorphic look with golden flares, pleasant barrel distortion, and almost no chromatic aberration.
Anamorphic Features in a Compact Form
Each Mercury lens provides the oval bokeh, pleasant barrel distortion, and shallow depth of field of the Atlas Orion 2x anamorphic primes but in a housing that is about half the size and weight of most pro anamorphic primes. The more compact size reduces fatigue and enables you to get closer to the action.
ARRI PL Mount
Full-Frame Coverage
Fast T2.2 Aperture
Cine-Style Design
- The Mercury lenses feature cine-standard 0.8 MOD gearing, a 95mm front diameter, and focus marks in feet.
- The standardized 95mm front diameter is compatible with many filters and matte boxes.
Specs
| Focal Length | |
| Maximum Aperture | |
| Lens Mount | |
| Lens Format Coverage | |
| Filter Thread | |
| Image Stabilization | |
| Electronic Communication |
| Maximum Aperture | |
| Minimum Aperture | |
| Lens Mount | |
| Horizontal Squeeze (Anamorphic) | |
| Flare Color | |
| Lens Format Coverage | |
| Angle of View | |
| Focus Scales | |
| Filter Thread | |
| Minimum Focus Distance | |
| Aperture/Iris Blades | |
| Image Stabilization | |
| Gear Standard | |
| Electronic Communication | |
| Diameter | |
| Length | |
| Weight |
Atlas Lens Co. Mercury 54mm T2.2 1.5x Anamorphic Prime Lens (PL Mount, Feet)
- This lens creates 1.5x the horizontal field with the same vertical field of view as a similar spherical lens.
- It offers a vintage anamorphic look with golden flares, pleasant barrel distortion, and almost no chromatic aberration.
Anamorphic Features in a Compact Form
Each Mercury lens provides the oval bokeh, pleasant barrel distortion, and shallow depth of field of the Atlas Orion 2x anamorphic primes but in a housing that is about half the size and weight of most pro anamorphic primes. The more compact size reduces fatigue and enables you to get closer to the action.
- The Mercury lenses feature cine-standard 0.8 MOD gearing, a 95mm front diameter, and focus marks in feet.
- The standardized 95mm front diameter is compatible with many filters and matte boxes.
Atlas Lens Co. Mercury 72mm T2.2 1.5x Anamorphic Prime Lens (PL Mount, Feet)
Designed by cinematographers for professional videographers, the Mercury 72mm T2.2 1.5x Anamorphic Prime Lens is part of the compact and lightweight Mercury Series from Atlas Lens Co. This series offers native full-frame coverage, enhanced bokeh, near-zero chromatic aberration, and a buttery vintage look that is warmer than that of the Orion series. The ARRI PL-mount Mercury series includes 36, 42, and 72mm primes plus 54 and 95mm and one telephoto focal length still in the pipeline.
- This lens creates 1.5x the horizontal field with the same vertical field of view as a similar spherical lens.
- It offers a vintage anamorphic look with golden flares, pleasant barrel distortion, and almost no chromatic aberration.
Cine-Style Design
- The Mercury lenses feature cine-standard 0.8 MOD gearing, a 95mm front diameter, and focus marks in feet.
- The standardized 95mm front diameter is compatible with many filters and matte boxes.
| Focal Length | |
| Maximum Aperture | |
| Lens Mount | |
| Lens Format Coverage | |
| Filter Thread | |
| Image Stabilization | |
| Electronic Communication |
| Maximum Aperture | |
| Minimum Aperture | |
| Lens Mount | |
| Horizontal Squeeze (Anamorphic) | |
| Flare Color | |
| Lens Format Coverage | |
| Angle of View | |
| Focus Scales | |
| Filter Thread | |
| Minimum Focus Distance | |
| Aperture/Iris Blades | |
| Image Stabilization | |
| Gear Standard | |
| Electronic Communication | |
| Diameter | |
| Length | |
| Weight |
Atlas Lens Co. Mercury 95mm T2.2 1.5x Anamorphic Prime Lens (PL Mount, Feet)
Designed by cinematographers for professional videographers, the Mercury 95mm T2.2 1.5x Anamorphic Prime Lens is part of the compact and lightweight Mercury Series from Atlas Lens Co. This series offers native full-frame coverage, enhanced bokeh, near-zero chromatic aberration, and a buttery vintage look that is warmer than that of the Orion series. The ARRI PL-mount Mercury series includes 36, 42, 54, 72, 95, and 138mm primes.
- This lens creates 1.5x the horizontal field with the same vertical field of view as a similar spherical lens.
- It offers a vintage anamorphic look with golden flares, pleasant barrel distortion, and almost no chromatic aberration.
- The Mercury lenses feature cine-standard 0.8 MOD gearing, a 95mm front diameter, and focus marks in feet.
- The standardized 95mm front diameter is compatible with many filters and matte boxes.
Atlas Orion Anamorphic
At the heart of Atlas Lens Co. Orion Series is a true Front Anamorphic Group. Orion Series lenses deliver the striking beauty of painterly waterfall bokeh, disproportionate breathing, and signature but controlled flare. These optical characteristics are now available as part of your cinematic storytelling toolkit with a mechanical functionality that won’t leave you feeling confounded by compromise.
SPECS:
- Lens Mount: PL Mount
- Format Coverage: s35
- Lenses Available: 32mm/ 40mm/ 50mm/ 65mm/ 80mm/ 100mm
- Maximum Aperture: T2.0
- Minimum Focus Distance: 1.75 FT/ 2 FT/ 2.5 FT/ 2.75 FT/ 3 FT/ 3.5 FT
- Front Diameter: 114mm
- Anamorphic Coefficient: 2x across the range
- Aperture: T2 – T16
Canon 11-165mm T2.5 Super 16
This lens is an excellent companion to the Canon 8-64mm T2.4. It covers an excellent range, and it’s still very compact and light-weight, perfect for documentary shooting. It’s sharp across its entire range, and has medium contrast. It maintains a fast T stop of T2.5 over the entire zoom range with no ramping.
SPECS:
Mount: PL-Mount
Front Diameter: 95mm
Maximum Aperture T-No: T2.4
Minimum Focus: 3′
Canon 8-64mm T2.4 Super 16
Not only is this lens sharp, has one of the most useful zoom ranges of any lens and has an amazing close-focus, but it also has almost NO FOCUS BREATHING at any focal length. With a field of view that is roughly equivalent to a 14.5-115mm in Super-35 terms and a close focus that nearly touches the front of the lens, this is the ultimate documentary lens. There is rarely a moment where you feel like you can’t get the shot you need or feel like you have to change lenses.
SPECS:
Mount: PL Mount
Focal Length: 8-64mm
Maximum Aperture F-No.: 1 : 2.4
Minimum Focus: 1′ 10″
Length: 200mm
Weight: 2.3kg
CANON CINE SERVO 17-120MM T2.95
The CINE-SERVO 17-120mm T2.95-3.9 lens provides cinematographers and broadcast operations with a compact, lightweight design (only 6.4 lbs.) using Canon optical elements, while offering outstanding performance and reliability in professional shooting environments.
The new lens is fully 4K-ready, with a high optical resolution and support for Super35mm large-format cameras. An 11-blade aperture diaphragm helps ensure an artistic and beautiful representation of out-of-focus areas (or “Bokeh”).
The lens also features a high 7x zoom magnification, wide focal length range of 17mm to 120mm, and a 180º smooth rotating focus ring. Acknowledging that broadcasters often need to control zoom, focus and iris/aperture in different ways than filmmakers, Canon has developed this zoom lens with full external servo control for drama, documentary and other broadcast productions.
The servo drive unit is compatible with industry-standard protocols for control from a number of lens controllers including Canon’s standard broadcast lens controllers (ZSD-300D/FPD-400D) and multiple industry standard cinema lens controllers. The drive unit can be easily removed for cinema-style shoots and can be easily re-attached without any manual re-alignment. A 16-bit metadata output enables connection to virtual studio systems.
High Zoom Magnification 7x
4K Ready
11-Blade Iris
Designed for Cinema Style and Broadcast Applications
Enhanced Servo Drive Unit
Compact and Lightweight
Multiple Communication Capability with Compatible Cameras
16-bit Metadata Output for Virtual Studio Systems
High Durability and Ruggedness
Power Supply
Also Available in EF Mount
Canon CINE-SERVO 25-250mm T2.95 S35
The lens covers an extensive 25 to 250mm focal range while featuring a T2.95 to T3.95 aperture from wide to telephoto. Using a 1.5x extender with 10x optical zoom, the telephoto range extends to an impressive 375mm. Like the rest of its cine lens family, the zoom lens creates a soft, pleasing bokeh using an 11-blade iris and a clickless iris ring. The focus ring rotates 180° with smooth operation. An LCD screen on the lens allows you to adjust user settings and functions such as zoom speed and locking, easily configured using the integrated drive switch.
SPECS:
Lens Mount: Canon EF
Maximum Aperture: T3.95
Minimum Focus Distance From: 4′ / 1.2m
Front Diameter: 114 mm
Zoom Ratio: 10x
Electronic Communication: Yes
Image Stabilization: No
Dimensions: (W x H) 7.6 x 5.2″ / 193.04 x 132.08 mm
Length: 11.1″ / 28.19 cm
Weight: 6.7 lb / 3.04 kg