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Supporting 4K resolution on Super 35mm sized sensors, the Angenieux 16 to 40mm Optimo Style Zoom Lens with PL Mount is patterned after the Angenieux Optimo DP series of zoom lenses and features a 2.5x zoom range of 16 to 40mm. The lens features internal focus design for a constant length as focus is changed and exhibits no signs of breathing during focus pulls.
The focus ring rotates through 320° of rotation, providing room for over 20 precise witness marks. The lens is lightweight for its zoom range at only 4.2 pounds and features a 114mm front outside diameter, which fits many optional production matte boxes. The lens comes standard with an ARRI PL mount, but optional lens mounts are available. The lens incorporates industry standard zoom and focus gears for interfacing with optional zoom motors, follow focus units, and Angenieux optional ASU servo unit.
- Fast aperture of T2.8 with no ramping as you change focal length
- 320° focus rotation with over 20 precise focus witness marks and no breathing
- Optical design optimized for large format single sensor cameras
- Calibrated focus marks in feet or meters
- Standard PL mount lens; Panavision, Canon EF, or Nikon F mounts optional
- Expanded capabilities with optional Optimo 2x and 1.4x range extenders
Complementing the 16-40 T2.8 and 30-76 T2.8, the Angenieux 48-130mm T3 Optimo Style Zoom Lens offers a 2.7x zoom range inside a compact lens while maintaining a relatively fast aperture.
Optically, this lens natively covers Super 35 formats, up to 34.6mm diagonal, including the RED Helium 8K sensor. Its light weight ensures that it can be used in payload-conscious situations, including scenarios with gimbals, remote heads, and steadicams. Coatings applied to the glass elements reduce flare and ensure that the lens will color-match with other Optimo and Optimo Style lenses. Precise focus mechanisms inside the lens reduce breathing and space.
Mechanically, the native PL mount interfaces with digital cinema cameras that use a standard ARRI PL mount. Other mount options, such as Canon EF or Panavision PV are available separately. The focus, zoom, and iris rings all feature 0.8 MOD cinema-standard gearing for lens control accessories, and the focus ring has a long 320° throw with 20 witness marks for precise focus pulls. A 114mm front diameter ensures compatibility with standard matte boxes and filters.
Whether you’re shooting a feature film or a cinéma vérité documentary, cinematographers of all types can benefit from having a longer focal length lens that can be easily deployed and transport.
The Fujinon MK18-55mm T2.9 Lens in E Mount is a lightweight cine-style zoom lens for E-mount cameras with a Super 35mm-sized sensor. It features a mechanical design with three independent lens control rings: focus, iris, and zoom. Each ring incorporates a cine-style gear with a 0.8 MOD for interfacing with standard cine -style lens accessories. The focus ring features approximately 200° of rotation, which provides room or precise focus pulls, and the iris is clickless, enabling smooth iris pulls. The lens also incorporates a macro mode for close focusing capabilities.
The lens is color matched to other Fujinon lenses such as the HK, ZK, and XK series, which enables smooth intercutting between lenses. The 85mm front enables use with many cine-style matte boxes via use of optional step up rings (rings not included). The lens weighs only 2.16 pounds, which is fairly light for a cinema zoom that holds focus and aperture throughout the focal length range. It is designed for camera’s with a Sony E mount, so it has a short flange focal distance, but the lens allows for flange focal distance adjustment so you can fine tune it to the camera you are using the lens on.
he Fujinon MK50-135mm T2.9 Lens in E Mount is a lightweight cine-style zoom lens for E mount cameras with a Super 35mm-sized sensor. It features a mechanical design with three independent lens control rings: focus, iris, and zoom. Each ring incorporates a cine-style gear with a 0.8 MOD for interfacing with standard cine -style lens accessories. The focus ring features approximately 200° of rotation, which provides room or precise focus pulls, and the iris is clickless, enabling smooth iris pulls. The lens also incorporates a macro mode for close focusing capabilities.
The lens is color matched to other Fujinon lenses such as the HK, ZK, and XK series, which enables smooth intercutting between lenses. The 85mm front enables use with many cine-style matte boxes via use of optional step up rings (rings not included). The lens weighs only 2.16 pounds, which is fairly light for a cinema zoom that holds focus and aperture throughout the focal length range. It is designed for camera’s with a Sony E mount, so it has a short flange focal distance, but the lens allows flange focal distance adjustment so you can fine tune it to the camera you are using the lens on.
Expressly designed for large-format sensors, the Premista28-100mm T2.9 Large-Format Cine Lens from Fujifilm covers up to a 46.3mm image circle in addition to Super 35 sensors. Its image quality is maintained from the center through the image corners and is color-matched to the Fujifilm cine lens line to reduce color grading in post. Compatibility with both ZEISS eXtended Data and Cooke /i Technology makes it easy to note your lens information for VFX work or matching shots. When paired with its 80-250mm companion, the two Premista zooms cover a wide range of frequently used focal lengths.
This standard zoom lens features a constant T2.9 maximum aperture across the entire zoom range, minimal aberration, low distortion, flare and ghost suppression, and a wide dynamic range. Housed in a durable lens barrel, the Premista28-100mm is designed with a 13-blade aperture for smooth bokeh, a wide focus barrel rotation of 280°, and a 114mm front diameter.
Designed for the digital cinema market, the Leica 15mm T2.0 Summicron-C PL Mount Lens (C for cinema) features a stainless steel PL mount and provides a smaller, lighter, albeit slower option to the renowned Summilux-C series of lenses.
The 15mm focal length is a common choice for a wide angle lens in the Super 35 format as it provides a strong wide-angle effect without extreme distortion. The small size of the lens makes it suitable not only for regular production but also for stabilized rigs, aerial cinematography, and stereoscopic 3D capture. Projecting a useable image circle of 36mm in diameter, it is compatible with a variety of cameras that have sensors that are slightly larger than Super 35. The T2.0 maximum aperture is consistent among the range, so there is no concern about exposure variations when cutting between Summicron-C lenses. Each lens incorporates geared focus and iris control rings, which share the same position, so swapping lenses can be done without having to adjust your follow focus or lens control system.
The lens features an internal focus design, which means a non-rotating front perfect for clip-on matte boxes. A generous number of focus marks are distributed along the dual focus scales, and the 300° of focus rotation provides for accurate focus pulling. The 95mm diameter front,weight, and length is standard across most Summicron-C lenses.
Ready for the Future
High Optical Performance
Canon EF mount is part of the Xenon FF set of lenses. FF stands for full frame, and every lens in the set covers a full frame image sensor without vignetting and is designed for 4K image capture. The Xenon FF lenses are color matched to a standard at the factory, minimizing color shift when changing lenses. They feature a 14-blade iris, providing natural looking bokeh, with circular out of focus highlights, 300° of lens barrel rotation, and share lens gear positions and size.
The lens features a barrel with a large circumference, providing wide spacing for focus marks. Opposing focus scales provide properly oriented focus marks on both sides, so an assistant can pull focus from either side of the lens. Lens gears for focus and iris allow you to use the lens with industry standard lens accessories. The 100mm features a removable lens support bracket, so you can use an available lens support if you wish. The lens is designed to allow a lens technician to swap mounts between available Canon EF, ARRI PL, and Nikon F, avoiding adapters and solidly mounting the lens to your camera.
Lens Barrel Rotation
Building on the success of the well-regarded CP.2 lenses, ZEISS‘s CP.3 Compact Prime Lenses offer the same full-frame sensor coverage and classic ZEISS look in an updated form-factor and with improved mechanics and lens coatings. This lens also includes the new eXtended Data connections which transmit essential lens metadata through both a Cooke /i interface on the mount itself and a 4-pin LEMO connection on the lens body.
This 85mm Compact Prime lens is derived from the same classic optical formula as the preceding CP.2 variant and shares the same physical length as the 15, 18, 21, 25, 28, 35, and 50mm CP.3 lenses while maintaining identical focus and iris gear positioning with the entire set of CP.3 lenses, relative to the mount. All CP.3 lenses also share the same 95mm front diameter. Similar physical attributes across the lens line makes fitting lens accessories such as matte boxes, follow focuses, lens supports, and lens control motors easier and less time consuming.
Another feature handed down from the preceding CP.2 lenses is the interchangeable mounts. This lens comes with a PL mount installed. Though, if you wish to fit your CP.3 lens to a different camera, the lens mount can be swapped by the user for a separately available mount of a different kind. If you like the bokeh in your images to be round, even after stopping down, you will be pleased to know that the 14-bladed iris from the CP.2 has not been left out of the optical design.
Note: While the CP.3 lenses are designed for a degree of user-serviceability regarding the mount, for ideal performance and calibration, B&H recommends that mount swaps and other lens adjustments be done by a trained lens technician at a service center.
Zeiss eXtended Data (XD) Technology
One advantage to this system lies in the fact that a production team can save the time in pre-production normally spent mapping out each lens’s distortion manually with focus charts. The eXtended Data workflow is both more precise and quicker saving both time and money on productions, especially ones that plan on using VFX.
Signature Zeiss Look
New Ergonomic Design
The Zeiss DigiPrime Cine Lens carries forward the long, productive relationship between Zeiss and professional filmmakers. Built to the company’s most exacting standards, this 14mm prime lens is designed specifically for 3-chip 2/3″ digital cinema cameras to provide the sharpest low-light imagery possible. Super fast at T1.6, this small, rugged lens has the advantage of maintaining sharpness when wide open–which means no compromises, even in low light.
Just as important to a professional production are control and precision, and the DigiPrime lens provides both, with its highly accurate and easy-to-read focus scales, precise back focus, and internal focus design. Able to hold the most critical focus, the lens exhibits virtually zero shifting and breathing, keeping image size the same throughout the focus range.
In order to maintain uniform color characteristics from lens to lens, each DigiPrime is super color matched to every other Zeiss cine lens. At the same time, the 14mm lens uses the same diameter and balance as nearly all the DigiPrimes, so changing lenses won’t mean also changing or repositioning matteboxes and other rod-mounted accessories. Optimized for low-light shooting, this lens’ solid, lightweight construction makes it ideal for handheld shooting.
The ZEISS Interchangeable Mount Set PL allows users to convert their CZ.2 28-80mm T2.9 lens to PL mount. The set includes a PL mount ring, Torx screws, eleven color coded shims and a rear lens cap. As the flange focal distance varies from camera type to camera type, it is sometimes necessary to make adjustments when changing the lens mount or camera model. In order to perform this adjustment, shims in eleven different thicknesses are provided.