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• ZEISS Supreme Primes

  

  ZEISS engineered the Supreme Prime’s with consistency in mind. Each lens is color matched and features a lightweight ergonomic design produced with modern film sets in mind. With a T-Stop of 1.5 the Supreme Primes are remarkably fast as well. All lenses in the family are designed to cover the full format camera sensors of today.

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• RED DSMC2 Gemini 5K S35

  

  Gemini is RED’s low light 5K sensor, offering an expanded range of ISO options beyond what their previous sensors were capable of. It features dual native 800 and 3200 ISO and is capable of 16.5+ stops of dynamic range, making this sensor a perfect match for low light scenarios.

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• SIGMA FF High Speed Primes

  

  SIGMA’s large format FF High Speed Prime lenses introduce a cost effective option for large format cinematography without sacrificing image quality. These compact, high speed primes are sharp, neutral in temperature and feature SIGMA’s quality cinema housings at a reasonable price.

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• Blurtar Primes

  

  The Blurtar lenses are a Keslow Camera exclusive designed by our in house lens team. These single element lenses offer an intentionally soft effect for a very unique effect.

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• Petzval Primes

  

  Based on vintage lenses from the mid-19th century, this modern reimagining of the Petzal prime lenses offer cinematographers a unique tool to add to their toolkit. Available in 58mm EF Mount or 85mm PL Mount, the Petzvals retain their portrait lens appeal of swirling smooth bokeh and sharp center focus.

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• Optex Primes

  

  The Optex 16mm lenses are relatively sharp for their age and format, but still exhibit nice vintage characteristics like improved focus roll off and lower contrast.

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• Elite Primes

  

  Elite lenses were designed for Super16 format and exhibit lower contrast while still maintaining good sharpness. Wide open these lenses exhibit similar properties to Super Speeds where they lose resolution and contrast, extenuating their vintage feel.

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• ZEISS Zooms

  

  ZEISS’s 11-110mm 16mm format zoom was originally designed for use with Arriflex 16mm cameras with a focus on feature films and television shows. The lens is very sharp for a vintage 16mm lens and offers some nice warmth in skin tones, as well as a creamy bokeh field when defocused.

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• Clairmont Anamorphics Primes

  

  The Clairmont Anamorphics are a rehoused version of the classic Kowa Anamorphic lenses, with a new 32mm focal length designed around a wide angle adapter which is built onto a 40mm Kowa Anamorphic. These lenses feature modern housings designed especially for cinema application and feature uniform focus and iris gearing across the entire set.

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• Nikkor Telephoto Anamorphic Primes

  

  The 400mm Nikkor Telephoto Anamorphic is a Nikkor Prime Telephoto Lens that has been modified with an anamorphic rear. This will not produce anamorphic bokeh due to the location of the iris in relation to the anamorphic optic in this conversion. The lens produces a very clean anamorphic image with minimal flares.

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