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.

Signature Primes are ARRI’s large format lenses designed specifically for use with their Large Format camera system line.  The Signatures feature ARRI’s LPL mount, a robust lightweight housing, pleasing bokeh, smooth focus, and a warm cinematic tone.

Originally introduced in the 1970’s the Canon FD’s were still photography lenses well known for their warm pleasing tones and smooth nature. GL Optics has rehoused these lenses into modern cinema housings, offering uniform focus and iris gears as well as a more robust build quality meant to withstand the rigors of modern cinema production.

Originally introduced in the 1970’s the Canon FD’s were still photography lenses well known for their warm pleasing tones and smooth nature. TLS has rehoused these lenses into modern cinema housings, offering a more robust build quality meant to withstand the rigors of modern cinema production.

Originally introduced in the 1970’s the Canon FD’s were still photography lenses well known for their warm pleasing tones and smooth nature. Whitepoint Optics has rehoused these lenses into modern cinema housings, offering a more robust build quality meant to withstand the rigors of modern cinema production.

Originally introduced in the 1970’s the Canon FD’s were still photography lenses well known for their warm pleasing tones and smooth nature. Zero Optik has rehoused these lenses into modern cinema housings, offering uniform focus and iris gears as well as a more robust build quality meant to withstand the rigors of modern cinema production. The Zero Optik Canon FD's are available in PL mount.

The SSC Canon FD’s feature the superb Super Spectra Coating from Canon. Designed in the early 1970’s, the Super Spectra Coating is a multi-layer coating that delivers optimum color balance and helps eliminate ghosting and flare aberrations present on the older non-SSC FD’s. This benefit is especially noticeable on today's modern digital sensors. The FD-X lens in this set is a modified 24mm Canon FD with a Angenieux 0.75x Wide Angle Adapter which allows for a wider 18mm field of view. These FD’s feature durable, reliable TLS rehousings for the modern era.

Canon’s original cinema lenses from the 1970’s, the K-35s were heavily based on the Canon FD still photography lenses. Featuring the same warm tones and smoothness as the FDs, with a new iris blade design and aspheric optics, along with a new Super Spectral Coating which produces pleasing bokeh flaring. These lenses were so popular during the 70’s that they won Canon an Academy Award for optical design in 1977. (Note: Only the 24mm - 85mm are compatible for full frame cinematography)

Canon’s Rangefinder Primes are rehoused stills lenses from the 60’s. They feature dreamy single-layer coatings that produce beautiful big amber flares and lower contrast images. Their bokeh is a semi-cateye shape in the outer field when wide open. The speed of each lens varies, but each is relatively fast. Each lens is rehoused by TLS modern mechanical designs and standard front diameters. This set includes the iconic Canon "Dream Lens."

Released in the 1960’s, the Type SK are still photography lenses rehoused into matched cinema housings. The lenses are sharp, especially for a vintage lens. They produce a pleasing lower contrast image, with smooth bokeh and beautiful warm flares.

The Cooke FF Macros were designed to integrate seamlessly into the Cooke S7 & S8 sets. These macros are sharp and color matched to the rest of the S7/S8's and provide optimal performance for spherical full frame macro cinematography.

The S7’s are Cooke’s large format spherical lens. Featuring Cooke's well-known robust design, the S7s offer the same “Cooke Look” and warm tones as their predecessors. These are a great addition to the Cooke family of lenses.

*60, 90, and 150mm Macros can be added to the set by request.

Cooke’s S8/i primes are faster, lighter, and smaller than previous full frame Cooke lenses. They exhibit Cooke’s pleasing warmth and creative Cooke Look. Each lens features uniform high quality Cooke design and utilizes Cooke’s i/Data for intelligent metadata capture.

*60, 90, and 150mm Macros can be added to the set by request. 

Cooke’s SP3 Primes are small lightweight full-frame mirrorless camera prime lenses with cinema optical and mechanical design. They feature Cooke’s well known warmth and excellent optical characteristics, including beautiful bubbly bokeh and pleasing skin tone rendering. Each lens features uniform design, and is available in Sony E-Mount or Canon RF Mount.

Built by Dalsa back around 2007, the Dalsa 4K lenses were built using sets of Leica R’s as the donor lens. They perform very similarly to Leica R lenses, exhibiting excellent sharpness, smooth background defocus, pleasing skin tones, and sturdy construction.

The DZO Arles Primes are expressive vintage-inspired full frame cinema primes with superior optical characteristics. They exhibit subtle flares, soft contrast, good color rendition, and have fast T1.5 apertures across most of the range that produce bubbly round bokeh. Their robust compact build and large variety of focal lengths make them ideal for many types of shooting situations, and they feature uniform gear positions and 95mm front diameters for ease of use.

The Gnosis Macros are 1:1 magnification cinema macros designed for capturing sharp close-up details. Available in 24mm to 90mm focal lengths, all with fast T2.8 apertures. They deliver sharp, color-accurate images with minimal distortion and their lightweight design with standardized gear positions makes them easy to work with. The Gnosis Macros are available in PL, EF, and LPL lens mounts.

The DZO Film Vespid Primes are high-performance full-frame cinema lenses, offering a wide range of focal lengths from 25mm to 125mm. They provide sharp, high-resolution images with minimal distortion and produce beautiful, cinematic bokeh. Their lightweight, weather-resistant build ensures reliability on set, while their sleek, modern design and standardized gear positions make them easy to use. Perfect for filmmakers seeking full frame versatility and in a compact package, the DZO Film Vespid Primes are available in both EF and PL mount.

Based on the DZOFilm Vespid Primes, the Vespid Retros are modified to produce a more vintage look and feel in the same modern package as the originals. They still provide sharp, high-resolution images with minimal distortion, but with additional flare characteristics and lower contrast image production. They feature the same standardized gear positioning and weather-resistant build as the originals. Available in both EF and PL mounts, these primes are great for filmmakers that want a modern lens with a vintage appeal.

The Fuji EBC Primes were originally released in the 1970’s as compact fast SLR lenses for the still photography market. Fuji used Electronic Beam Coatings (EBC) on these lenses, allowing 11 layers to be coated on the elements, something that was unheard of at the time. The lenses are beautiful, exhibiting gradual fall off, colorful flares, and smooth bokeh. This set has been redesigned into modern housings by Ancient Optics, with matching focus and iris rings and standard front diameters, and PL mounts, making the set easier to use for modern filmmakers.

The Genesis Vintage ‘66 Primes are a modern lens featuring state of the art German mechanical design with vintage aesthetics. They render pleasing skin tones, a sharp clean bokeh, and vintage inspired flares while still being optically sharp and flat. All the lenses are quite compact in size and feature a uniform design.

The Genesis Opia's provide a classic cinema look in a modern package. With uniform gear positions and front diameters, the entire set is well designed for modern cinema workflows. They feature constant T2.0 stops across the entire range, and offer excellent color rendering with creamy smooth bokeh. These Opia’s feature a single coating to increase flare characteristics.

IB/E’s Raptor Macros offer four full frame prime lenses that exhibit superb close focus, 1:1 magnification, and a 50mm image circle designed to cover all modern digital cinema full frame cameras. Each Raptor Macro is designed with special apochromatic lens elements for better chromatic aberration correction and minimal spherical aberration.

Based on old Soviet era still photography lenses, the IronGlass rehoused Primes are a variety of different lenses married into a cinema style set. Each lens has either a blue or amber coating and features an oval baffle and plastic filament to create an anamorphic like effect with oval bokeh and streak flaring.

Based on old Soviet era still photography lenses, the IronGlass rehoused Primes are a variety of different lenses married into a cinema style set. Each lens has either a blue or amber coating and features an oval baffle and plastic filament to create an anamorphic like effect with oval bokeh and streak flaring.

Based on old Soviet era still photography lenses, the IronGlass rehoused Primes are a variety of different lenses married into a cinema style set. Each lens has either a blue or amber coating and features an oval baffle and plastic filament to create an anamorphic like effect with oval bokeh and streak flaring.

The vintage Leica R lenses have been rehoused by GL Optics to improve housing mechanics and provide a robust design for cinema use. They still exhibit the same optical sharpness, pleasing bokeh, and smooth fall-off present in their non-rehoused cousins.

A TLS/Cinescape rehoused lens, the Leica R Macro is a still photography lens that has been converted for use with cinema cameras and features excellent close focus, 0.8 gearing for focus motor attachment, and a PL mount.

The vintage Leica R lenses have been rehoused by Zero Optik to improve housing mechanics and provide a robust design for cinema use. They still exhibit the same optical sharpness, pleasing bokeh, and smooth fall-off present in their non-rehoused cousins.

The Leitz HUGO primes are an officially rehoused variant of the Leica M 0.8 Prime lenses. They feature the same optical characteristics as the M 0.8’s, including excellent image quality with enough imperfections to be aesthetically pleasing. They reproduce skin tones and render highlights beautifully, while exhibiting an attractive amount of edge falloff. The housings are of modern Leitz quality, with uniform focus and iris gears and an LPL mount. The set also includes an additional 50mm focal length Noctilux model with a faster T1 stop for super low light cinematography.

The Leica M 0.8 lenses are an updated version of the original Leica M prime lenses. Featuring gearing for cinema use in 0.8 pitch and the same Leica M Mount, the M 0.8 Primes offer cinematographers a unique look for large format cinematography.

DSMC® Al Leitz-M Mount included with rental.

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).

The Thalia primes offer a cinematic look with soft round bokeh and a distinct character and their optical design renders a layered focus roll off which creates a unique added dimension by pulling the subject out of the background. They’re smooth and clear without being overly sharp like many modern cinema lenses. Their large image circle covers formats up to Alexa 65 and anything in between.

*The 90mm Thalia-T lens exists within the Thalia set as a portrait style effects lens. It exhibits more dramatic fall off and a more dream-like dramatic bokeh style to the background wide open. At a T5.8 the lens takes on a higher contrast look.

The MasterBuilt Anastigmat is a single 160mm focal length prime that provides a sharp, even image with attractive focus roll off and a warm aesthetic flare, with minimal chromatic aberration. The lens renders a painterly background and a sharp foreground. Available in LPL mount only.

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.

The Portrait series of the MasterBuilt family of lenses exhibit a more dramatic focus fall off and slightly lower contrast than the original lenses, creating a dreamy portrait look. They have a similar color temperature and vintage feel like the rest of the MasterBuilts and are available in three focal lengths. They also feature the same fast t-stops and uniform construction as the rest of the set.

The MasterBuilt Soft Flare's offer a softer edged lower contrast look compared to the original MasterBuilt lenses, giving them a more vintage feeling for large format cinematography. The Soft Flares still feature the same special polishing process that gives these lenses their unique flares.

The MasterBuilt SuperWide is a single 14.5mm full frame prime lens manufactured for use with the entire MasterBuilt range of lenses. The prime has a superwide angle of view, with a fairly sharp and even field, slight distortion, and a pleasing multi chromatic flare. Featuring a fast T1.9 stop and full frame coverage, it’s the perfect wide lens for use alongside any MasterBuilt lens.

The Nikkor Telephoto primes are still photography lenses that have been repurposed for cinema use with modern PL mounts installed for ease of use on digital cinema cameras.

These Zero Optik Nikon Primes are based on vintage full frame Nikon still photography lenses, but have been rehoused with cinema style gearing on the iris and focus for use on todays modern film sets.

Based on the popular AI-S stills primes from the 1980’s, Whitepoint Optics has rehoused these classic lenses into modern cinema housings. These beautiful lenses are sharp near the center with gradual fall off and water color like defocus. Their bokeh is bubbly and well defined, with good flare control for lenses from that era. The housings feature modern uniform front sizes and gear positioning.

AUREUS PRIME, NiSi's new full-frame cinema lens collection, is unified by a constant T1.4 aperture. This ultra-fast T-stop ensures exceptional low-light performance and precise depth of field control, creating pleasing background separation even on the 18mm wide-angle. Optically, the series is engineered for professional-grade results, featuring high sharpness, zero focus breathing, and negligible chromatic aberration. Designed for efficiency, all lenses share identical physical dimensions, weight, and gear placements, allowing for rapid swaps. Each lens features a robust metal housing, a 90mm front diameter, and an 86mm filter thread. A swappable rear mount also accepts internal filters, such as ND or diffusion, leaving front-mounted accessories undisturbed.

The Zero Optik Olympus Primes are a set of rehoused still photography lenses from the 1970’s. Unique among photo lenses for their combination of compact size, uniform T2.2 apertures, and consistent performance. They produce sharp images with warm smooth flares, without being too sterile.

The Petzvalux are a set of full frame, LPL-mount lenses that feature modern optics based on vintage Petzval lens designs. They feature a “tuning ring” on the front of the lens that provides a tunable Petzval look. This allows the user to tune the intensity of the sharpness, fall-off, and Petzval bokeh effect. This set was designed by Ancient Optics to include additional focal lengths than are normally available in the Petzval family, adding a 27mm, 38mm, and 120mm.

Series 65 are 65mm format prime lenses built from vintage optics into modern housings with LPL mounts, they feature no expanders or gimmicks to achieve 65mm coverage. Designed to work with cameras like the ALEXA 65 Open Gate or Blackmagic URSA 17K 65, the Series 65 are high resolution, have excellent close focus, and produce an image that is rich and vintage without being mushy. All lenses feature the same front diameter, uniform housing design, and modern finish.

SIGMA created the FF Classic Primes to further accentuate the flares of their original prime set by making changes to their coatings. These compact, high speed primes are sharp, neutral in temperature while being lower contrast than the originals and feature SIGMA’s quality cinema housings at a reasonable price.

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.

The TAMASHII Primes are reimagined lightweight Japanese vintage primes based on lenses from the 1960’s to 1980’s. They feature modern cinema housings in PL mount engineered by Zero Optik and Ancient Optics with standard front diameter sizes and gear positioning. The set is very well matched and exhibits excellent sharpness wide open with next to no chromatic aberration. Their flares are beautifully multi-colored and their bokeh is smooth and bubbly, with a slight cat's eye. They render the background well without muddling, while keeping subjects in sharp focus, even while wide open.

Designed through a collaboration between Bradford Young, ASC and Neil Fanthom, the Blackwing7's offer full frame/large format coverage and feature a robust design coupled with unique optical characteristics and customization options. Three standard production tuning options are available for the Blackwing7 lenses and feature black housings. 

• The Straight "S" tuning matching more traditional 20th century lenses and exhibiting medium focus fall off. 

• The Transient "T" tuning providing a smoother image with slightly more focus fall off and flaring. 

• The extreme eXpressive "X" tuning option which offers a softer look with more extreme halation and aberration during flaring as well as the most focus fall off of the three tunings.

• The XT Tuning (X-Tuned lenses with more subtle T-flare) are custom tuned lenses that are single coated (the same as with T and X lenses), with edge uncoated (X). They have the same sharpness, warmth, lifted shadows, and focus falloff that we have come to expect from the binaries, with more subtle flares. The lenticular, rainbow flare, is only present in extreme situations and it’s far more subtle and controlled compared to the binaries. Without the rainbow pupil flare, you can see the more subtle purple and blue ghost effects caused when flaring the Blackwings lovely single layer coatings. 

• The "B" tuned Blackwings have the same multi-coated lens elements from the "S" tuned range, so they perform the same in terms of light management and flare control. "B" tuned lenses exhibit a green/blue ghost flare and the optics have the edge-uncoating from the "X" tuned range, so they are lower in contrast. These lenses have the same optical prescription as the "T" tuned lenses giving them similar characteristics when stopped down.

• Prior to release of these production tunings Tribe7 produced the Binary Blackwings, which feature a silver housing and are similar in tuning to the "T" tuning production lenses. Tribe7 continues to work on additional tuning combinations that may become available in the future.

•  T-Stops can vary from T1.8 to T2.0 based on the generation of the lens.

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. 

Available to rental in Canada only.

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.