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• MasterBuilt Classic Primes

  

  The MasterBuilt Prime lenses were designed to produce images with vintage style, offering gradual focus fall off with great center sharpness.  Large format compatible, the lenses offer ultra-fast T1.4 apertures with evenly spaced focus and iris gearing in each lens.

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• Leitz Primes

  

  Leitz has created a new set of large format prime lenses.  The Leitz Primes provide an image circle large enough to cover Vistavision and offer a super fast aperture of T1.8 until 180mm.  They’re uniformly sized and designed for ease of use with evenly spaced focus and iris gears with a robust design.  They also feature a rear net holder and offer threading from front filter attachment (M112x1.5mm filters).

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• IB/E Smart Director’s Viewfinder - Digital

  IB/E designed the Smartfinder to offer filmmakers a compact versatile digital director’s viewfinder. Utilizing an iPhone Plus, the Smartfinder accepts PL mount lenses and can generate custom framelines and formats for both Full Frame or Super 35 lenses.

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• Artemis Prime Director’s Viewfinder - Digital

  The Artemis Prime Director’s Viewfinder utilizes a special optical relay attached to the back of a 10.5” iPad Pro that allows PL or LPL Mounted lenses to be mounted to the iPads camera and pass images directly into the iPad. This allows unique functionality not available on optical viewfinders, such as storyboarding, frameline creation, and custom formats for both Full Frame or Super 35 lenses.

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• Sigma Director’s Viewfinder - Digital

  Sigma designed the FP camera with an optional feature that adds an electronic viewfinder to the camera body and allows the camera to be used with PL Mount lenses via an adapter. The camera then functionally operates as a digital director’s viewfinder that works with Full Frame or Super 35 lenses.

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• Lindsey Optics Director’s Viewfinder - Optical

  The Lindsey Optics Full Frame Optical Viewfinder provides optical through the lens viewing for an unprecedented range of formats from Super-35 to Red Monstro and ARRI Alexa 65.

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• ZEISS Contax Primes

  Based on 1980's still lenses, these rehoused Contax/Zeiss Primes do not have consistent maximum aperture’s across the range. Optically fairly sharp and slightly lower contrast when compared to similar vintage still lenses, and looks similar in character to the Zeiss Super Speed’s. 

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• RED Komodo 6K S35

  

  RED’s super compact camera features a 6K global shutter sensor and ultra lightweight design ideal for unique rigging solutions. The Komodo records Apple ProRes and REDCODE Raw formats to CFast media and features the same 16+ stops of dynamic range as the rest of RED’s product line.

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• Angenieux Optimo Primes

  

  Angenieux's new Optimo Primes offer filmmakers small lightweight full frame cinema primes made specifically to match Angenieux's line of cinema zooms. The Optimo Primes feature a unique design that allows the iris assembly, an internal glass element, and a rear filter to be swapped out, providing filmmakers with a versatile tool for creating dynamic images. The lenses are fast ranging from T1.8 for most focal lengths to T2 and T2.2 for the 18mm and 200mm respectively. Each lens features Cooke i/Data and ARRI LDS for lens metadata capture.

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• Caldwell Chameleon XC Series Anamorphic Primes

  

  The Caldwell Chameleon Anamorphic prime lenses offer a retro anamorphic look with modern mechanics. The entire 1.79x squeeze set, 48mm, 60mm, 75mm, 90mm, 112mm, & 150mm will cover full frame sensors and offer the traditional optical aberrations and flare characteristics unique to front anamorphic lenses. The Chameleon Primes employ a Stokes focus system that creates a fairly unique focusing experience compared to many other anamorphic primes. The aesthetic result is the compression of the subject in the vertical plane only. This creates an artistic “attention pull” without creating a “zoom” effect as well. Also, this system helps maintain a constant anamorphic compression across the entire field of view. This more uniform compression helps reduce the “mumps syndrome” that occurs in many other anamorphic lens designs.  The complete set can also be converted to Super 35 coverage for cinematographers hoping to capture more edge aberration and optical character on smaller formats. 

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