Vintage & Modern Cinema Lenses, Cameras, & Accessories

 

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Rare Vintage Lenses

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Modern Lenses

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Cameras and Accessories

Vintage lenses are in demand for a reason.

Vintage lenses deliver character that cannot be replicated by any camera or post production process. Many of these older lenses use types of glass and coatings that can no longer be used to build lenses. The subtle distortion, lens flares, bokeh, and lower contrast are unique to vintage lenses. We have some of the most sought after, rare, character-rich, vintage lenses available. We choose our lenses based on the images they deliver, not what is currently trending. We are always adding new lenses to our inventory, and many of our vintage lenses are rehoused so they deliver reliable consistent performance on even the most demanding sets.

 

 Watch the film I THINK WE’RE ALONE NOW, shot by Reed Morano on Lomo Round Front anamoprhics for an excellent example of their distinct character.  There is a reason VANTAGE FILM chose Lomo Round Front anamorphic lenses as the glass that ended up in the first HAWK C-Series anamoprhics. That's right, the first Hawk lenses are rehoused Lomo Round Fronts. Vantage has good taste, because these Lomos give you the classic anamorphic look. Due to the design of their focus system Lomo Round Fronts (especially the 50, 75, 100 and 150) have minimal focus breathing. Unlike some anamorphic lenses, Lomos are very flattering on faces even at close-focus (no mumps). They produce all the beautiful anamorphic characteristics DPs are looking for including classic oval bokeh and stunning "blue streak" lens flares. These vintage lenses are slightly warm and render gorgeous skin tones. They perform very well wide open, and are some of the best all-around vintage anamorphic lenses available.  Our set has been rehoused by London based Van Diemen Precision Optics. The lenses now feature internal focus, something completely new to Lomo Round Fronts or Hawk C-Series for that matter. It used to be difficult to use matte box and follow focus systems with Lomos due to the rotating and telescoping front elements. These new modern housings are on par with the best modern lenses out there and they are perfectly compatible with all matte box and follow focus systems.

Watch the film I THINK WE’RE ALONE NOW, shot by Reed Morano on Lomo Round Front anamoprhics for an excellent example of their distinct character.

There is a reason VANTAGE FILM chose Lomo Round Front anamorphic lenses as the glass that ended up in the first HAWK C-Series anamoprhics. That's right, the first Hawk lenses are rehoused Lomo Round Fronts. Vantage has good taste, because these Lomos give you the classic anamorphic look. Due to the design of their focus system Lomo Round Fronts (especially the 50, 75, 100 and 150) have minimal focus breathing. Unlike some anamorphic lenses, Lomos are very flattering on faces even at close-focus (no mumps). They produce all the beautiful anamorphic characteristics DPs are looking for including classic oval bokeh and stunning "blue streak" lens flares. These vintage lenses are slightly warm and render gorgeous skin tones. They perform very well wide open, and are some of the best all-around vintage anamorphic lenses available.

Our set has been rehoused by London based Van Diemen Precision Optics. The lenses now feature internal focus, something completely new to Lomo Round Fronts or Hawk C-Series for that matter. It used to be difficult to use matte box and follow focus systems with Lomos due to the rotating and telescoping front elements. These new modern housings are on par with the best modern lenses out there and they are perfectly compatible with all matte box and follow focus systems.

 These are some of the most capable and highest performing 2x vintage anamorphic lenses available. They have all the characteristics you want in anamorphic glass: unique geometry, oval bokeh, and beautiful, blue-streak lens flares, but their huge maximum apertures put them in a category very few lenses can touch. Shoot them wide-open and you get a creamy low contrast look with incredibly shallow depth of field and stunning bokeh. Stop them down to T2 and sharpness and contrast increase dramatically. At T2.8 they are already near peak performance. With a 15-blade iris, they maintain perfectly oval bokeh no matter what T-stop you’re shooting at. Just as important as all that performance, they also render faces beautifully, without stretching people or making them look wider (often referred to as "mumps"). If you want all the beauty of vintage anamorphic lenses with the best performance possible, there’s no better option.

These are some of the most capable and highest performing 2x vintage anamorphic lenses available. They have all the characteristics you want in anamorphic glass: unique geometry, oval bokeh, and beautiful, blue-streak lens flares, but their huge maximum apertures put them in a category very few lenses can touch. Shoot them wide-open and you get a creamy low contrast look with incredibly shallow depth of field and stunning bokeh. Stop them down to T2 and sharpness and contrast increase dramatically. At T2.8 they are already near peak performance. With a 15-blade iris, they maintain perfectly oval bokeh no matter what T-stop you’re shooting at. Just as important as all that performance, they also render faces beautifully, without stretching people or making them look wider (often referred to as "mumps"). If you want all the beauty of vintage anamorphic lenses with the best performance possible, there’s no better option.

 These lenses are one of the best kept secrets in cinematography. They are the perfect combination of amazing capabilities and unique character and they produce gorgeous skin-tones.They cover Full Frame, they are high speed lenses, have amazing close-focus and their 15-blade iris means your bokeh is always a soft circular shape. They are also one of the best performing super speed lenses when shot wide-open because of their aspherical design. That design was a big reason Canon K-35s won an Academy Award in 1977 for innovation. Recently K35s were used to lens HER, AMERICAN HUSTLE and THE HANDMAID'S TALE.   These lenses were rehoused by TLS (True Lens Services) in London. TLS lenses are arguably the best lens housings available. We had TLS rehouse a 14mm f2.8 and 135mm f2 vintage Canon FD primes to compliment the K35s and fill out the set on the wide and long end. TLS also was able to make most of the lenses focus closer than their stock barrels. All the lenses have a 300 degree focus throw, matching 110mm fronts, and matching positions for the focus and iris gears.

These lenses are one of the best kept secrets in cinematography. They are the perfect combination of amazing capabilities and unique character and they produce gorgeous skin-tones.They cover Full Frame, they are high speed lenses, have amazing close-focus and their 15-blade iris means your bokeh is always a soft circular shape. They are also one of the best performing super speed lenses when shot wide-open because of their aspherical design. That design was a big reason Canon K-35s won an Academy Award in 1977 for innovation. Recently K35s were used to lens HER, AMERICAN HUSTLE and THE HANDMAID'S TALE.


These lenses were rehoused by TLS (True Lens Services) in London. TLS lenses are arguably the best lens housings available. We had TLS rehouse a 14mm f2.8 and 135mm f2 vintage Canon FD primes to compliment the K35s and fill out the set on the wide and long end. TLS also was able to make most of the lenses focus closer than their stock barrels. All the lenses have a 300 degree focus throw, matching 110mm fronts, and matching positions for the focus and iris gears.

 No other lens has the beautiful and unique look of vintage Cooke Speed Panchros. They are known for how well they render faces, and for their painterly quality. These are the lenses responsible for the term "The Cooke Look." They are as sharp as you need a lens to be, but with a flattering softness. They have a gentle focus roll-off and are just a little warm. They have the perfect amount of barrel distortion and vignette. These are often the lens of choice for shooting close-ups of faces. Mechanically speaking the TLS housings are as good as it gets, with incredibly smooth focus movement and very close minimum focus distances for every focal length. These lenses are a joy to work with, and they will give your project a unique look, that makes it stand out from the pack.

No other lens has the beautiful and unique look of vintage Cooke Speed Panchros. They are known for how well they render faces, and for their painterly quality. These are the lenses responsible for the term "The Cooke Look." They are as sharp as you need a lens to be, but with a flattering softness. They have a gentle focus roll-off and are just a little warm. They have the perfect amount of barrel distortion and vignette. These are often the lens of choice for shooting close-ups of faces. Mechanically speaking the TLS housings are as good as it gets, with incredibly smooth focus movement and very close minimum focus distances for every focal length. These lenses are a joy to work with, and they will give your project a unique look, that makes it stand out from the pack.

 Zeiss Super Speeds arguably the most capable and beautiful vintage lenses available. Their T1.3 maximum aperture is an obvious advantage and puts them in rare company. Whether you are wide-open or stopped down, the images they produce are magic. From the special glass made from rare earth materials that can no longer be used to make lenses, to Zeiss' magic T* coating, these lenses just make people look good. They produce beautiful blue and magenta lens flares, and have minimal focus breathing. From the SHINING to STRAIGHT OUTA COMPTON, there is a reason these lenses continue to be the first and only choice for many DPs. Our Super Speeds are color matched, and the set includes a rare 65m T1.3. We also had our witness marks painted bright white, which is much easier to see in low light situations than the classic orange paint traditionally used for the imperial focus scales. You can add any of our Zeiss Standard Speed primes to round out the set.

Zeiss Super Speeds arguably the most capable and beautiful vintage lenses available. Their T1.3 maximum aperture is an obvious advantage and puts them in rare company. Whether you are wide-open or stopped down, the images they produce are magic. From the special glass made from rare earth materials that can no longer be used to make lenses, to Zeiss' magic T* coating, these lenses just make people look good. They produce beautiful blue and magenta lens flares, and have minimal focus breathing. From the SHINING to STRAIGHT OUTA COMPTON, there is a reason these lenses continue to be the first and only choice for many DPs. Our Super Speeds are color matched, and the set includes a rare 65m T1.3. We also had our witness marks painted bright white, which is much easier to see in low light situations than the classic orange paint traditionally used for the imperial focus scales. You can add any of our Zeiss Standard Speed primes to round out the set.

 This is the first and oldest generation of the now legendary Zeiss “Super Speed" lenses, commonly referred to as “B-Speeds.” Introduced in the 1970s the original housings had ARRI Bayonet Mounts.. Although this particular set is rehoused, they share a lot of DNA with later versions of Super Speeds. They have the original optics made of “rare earth element glass,” (which lens manufacturers are no longer allowed to use). They have their original coatings, and arguably most important their original iris design. The thing that sets B-Speeds apart from any other lens ever made is their unique 9-blade iris that results in an aperture that has the shape of a triangle with rounded side. This iris design not only gives the lenses a more gentle focus roll off, but it also produces one of the most striking bokeh effects of any other lens. Shoot them wide open and similar to other lenses, out-of-focus pinpoint light sources are round orbs. However stop down to T2, and the circular orbs turn into rounded triangles. B-Speeds give you multiple looks within the same set, and the ability to make your project stand out.   Breathing is minimal. Flares are very nice thanks to the vintage coatings. Shooting wide open results in a beautiful flattering look with a slight glow to highlights. Stop down and the look is sharper and has more contrast. This set was rehoused by SAMCINE for proper cinema use. In addition to the beefed up mechanics, the new housings have geared focus and iris, and easy-to-read witness marks. Most importantly, the original ARRI Bayonet mount has been updated to PL. These are small, fast, gorgeous, vintage lenses that can produce results no other lens can replicate.

This is the first and oldest generation of the now legendary Zeiss “Super Speed" lenses, commonly referred to as “B-Speeds.” Introduced in the 1970s the original housings had ARRI Bayonet Mounts.. Although this particular set is rehoused, they share a lot of DNA with later versions of Super Speeds. They have the original optics made of “rare earth element glass,” (which lens manufacturers are no longer allowed to use). They have their original coatings, and arguably most important their original iris design. The thing that sets B-Speeds apart from any other lens ever made is their unique 9-blade iris that results in an aperture that has the shape of a triangle with rounded side. This iris design not only gives the lenses a more gentle focus roll off, but it also produces one of the most striking bokeh effects of any other lens. Shoot them wide open and similar to other lenses, out-of-focus pinpoint light sources are round orbs. However stop down to T2, and the circular orbs turn into rounded triangles. B-Speeds give you multiple looks within the same set, and the ability to make your project stand out.

Breathing is minimal. Flares are very nice thanks to the vintage coatings. Shooting wide open results in a beautiful flattering look with a slight glow to highlights. Stop down and the look is sharper and has more contrast. This set was rehoused by SAMCINE for proper cinema use. In addition to the beefed up mechanics, the new housings have geared focus and iris, and easy-to-read witness marks. Most importantly, the original ARRI Bayonet mount has been updated to PL. These are small, fast, gorgeous, vintage lenses that can produce results no other lens can replicate.

 This set of B Speeds have optics identical to our set of SAMCINE.rehoused B-Speeds listed above, but these are in their original housings. This is the first and oldest generation of the now legendary Zeiss “Super Speed" lenses, commonly referred to as “B-Speeds.” Introduced in the 1970s the original housings had ARRI Bayonet Mounts.. Although this particular set is rehoused, they share a lot of DNA with later versions of Super Speeds. They have the original optics made of “rare earth element glass,” (which lens manufacturers are no longer allowed to use). They have their original coatings, and arguably most important their original iris design. The thing that sets B-Speeds apart from any other lens ever made is their unique 9-blade iris that results in an aperture that has the shape of a triangle with rounded side. This iris design not only gives the lenses a more gentle focus roll off, but it also produces one of the most striking bokeh effects of any other lens. Shoot them wide open and similar to other lenses, out-of-focus pinpoint light sources are round orbs. However stop down to T2, and the circular orbs turn into rounded triangles. B-Speeds give you multiple looks within the same set, and the ability to make your project stand out.   Breathing is minimal. Flares are very nice thanks to the vintage coatings. Shooting wide open results in a beautiful flattering look with a slight glow to highlights. Stop down and the look is sharper and has more contrast. These are small, fast, gorgeous, vintage lenses that can produce results no other lens can replicate.

This set of B Speeds have optics identical to our set of SAMCINE.rehoused B-Speeds listed above, but these are in their original housings. This is the first and oldest generation of the now legendary Zeiss “Super Speed" lenses, commonly referred to as “B-Speeds.” Introduced in the 1970s the original housings had ARRI Bayonet Mounts.. Although this particular set is rehoused, they share a lot of DNA with later versions of Super Speeds. They have the original optics made of “rare earth element glass,” (which lens manufacturers are no longer allowed to use). They have their original coatings, and arguably most important their original iris design. The thing that sets B-Speeds apart from any other lens ever made is their unique 9-blade iris that results in an aperture that has the shape of a triangle with rounded side. This iris design not only gives the lenses a more gentle focus roll off, but it also produces one of the most striking bokeh effects of any other lens. Shoot them wide open and similar to other lenses, out-of-focus pinpoint light sources are round orbs. However stop down to T2, and the circular orbs turn into rounded triangles. B-Speeds give you multiple looks within the same set, and the ability to make your project stand out.

Breathing is minimal. Flares are very nice thanks to the vintage coatings. Shooting wide open results in a beautiful flattering look with a slight glow to highlights. Stop down and the look is sharper and has more contrast. These are small, fast, gorgeous, vintage lenses that can produce results no other lens can replicate.

 Zeiss Standard Speeds are vintage cinema lenses that have been an industry standard for decades. Their older optical designs, vintage glass and coatings are the perfect recipe to take some of the edge off of digital cameras, and they are incredibly flattering on faces. Standard Speeds were used on Fear and Loathing in Las Vegas, Monster's Ball, and Roger Deakins used them to shoot Fargo. They have a classic look thanks in part to their older coatings and iris design which delivers beautiful flares and a unique bokeh when stopped down. As a bonus, they are some of the smallest and lightest cinema lenses available (most of them weighing about 1 pound!), which makes them one of the best choices for gimbal or drone use.

Zeiss Standard Speeds are vintage cinema lenses that have been an industry standard for decades. Their older optical designs, vintage glass and coatings are the perfect recipe to take some of the edge off of digital cameras, and they are incredibly flattering on faces. Standard Speeds were used on Fear and Loathing in Las Vegas, Monster's Ball, and Roger Deakins used them to shoot Fargo. They have a classic look thanks in part to their older coatings and iris design which delivers beautiful flares and a unique bokeh when stopped down. As a bonus, they are some of the smallest and lightest cinema lenses available (most of them weighing about 1 pound!), which makes them one of the best choices for gimbal or drone use.

 This is the first focal length in what will be a complete set of vintage Nikon optics from the 1970s and 1980s, all beautifully rehoused by Zero Optics, and all will feature a PL mount, matching 95mm fronts, matching focus and iris gear positions, 300 degree focus throw (in the proper cinema direction) and in some focal lengths, improved close focus. The 58mm f1.2 (T1.3) Noct was originally designed in 1977 for low light photography. It's unique optical design features a hand ground aspherical from element, and results in a lens that delivers maximum performance even when shot wide open. The entire lens set will cover Full Frame sensors and beyond. The 58mm T1.3 easily covers RED Monstro, Sony Venice, Alexa LF in Open Gate and even covers the entire Alexa 65 sensor. Vintage Nikon lenses deliver amazing performance without sacrificing character. More focal lengths coming soon. Please contact us if you are interested in trying out this amazing new lens option.

This is the first focal length in what will be a complete set of vintage Nikon optics from the 1970s and 1980s, all beautifully rehoused by Zero Optics, and all will feature a PL mount, matching 95mm fronts, matching focus and iris gear positions, 300 degree focus throw (in the proper cinema direction) and in some focal lengths, improved close focus. The 58mm f1.2 (T1.3) Noct was originally designed in 1977 for low light photography. It's unique optical design features a hand ground aspherical from element, and results in a lens that delivers maximum performance even when shot wide open. The entire lens set will cover Full Frame sensors and beyond. The 58mm T1.3 easily covers RED Monstro, Sony Venice, Alexa LF in Open Gate and even covers the entire Alexa 65 sensor. Vintage Nikon lenses deliver amazing performance without sacrificing character. More focal lengths coming soon. Please contact us if you are interested in trying out this amazing new lens option.

 This is a collection of the best vintage lenses Nikon ever produced. Nikon primes produce a look that is dreamy and loaded with character when shot at wide apertures. Stopped down and they can get as sharp as you need them to be. All lenses have been Cine-Modified by DUCLOS LENSES and feature permanent focus gears, de-clicked and dampened aperture rings and matching 80mm fronts. The 80mm fronts accept 77mm screw-in filters, which is very convenient if you want to ditch the matte box and have an extremely light-weight set up. Conveniently the lenses have also been modified to Canon EF mount and will work on any camera with a Canon EF mount. These aren't cheap removable mount-adapters, they are permanently installed and rock solid.

This is a collection of the best vintage lenses Nikon ever produced. Nikon primes produce a look that is dreamy and loaded with character when shot at wide apertures. Stopped down and they can get as sharp as you need them to be. All lenses have been Cine-Modified by DUCLOS LENSES and feature permanent focus gears, de-clicked and dampened aperture rings and matching 80mm fronts. The 80mm fronts accept 77mm screw-in filters, which is very convenient if you want to ditch the matte box and have an extremely light-weight set up. Conveniently the lenses have also been modified to Canon EF mount and will work on any camera with a Canon EF mount. These aren't cheap removable mount-adapters, they are permanently installed and rock solid.

 The Cooke 20-60m T3.1 was first sold in 1981 and was described as having “optical performance comparable to prime lenses.” That statement still holds true today. This is arguably the highest performing zoom lens Cooke ever made, except for possibly the modern and advanced Cooke CXX 15-40mm T2. The 20-60mm is a bit sharper wide-open than the 18-100mm. It has no noticeable chromatic aberrations even wide-open, which is something even modern, high-end prime lenses have issues with. It is sharp, but with that classic flattering thing that only Cooke lenses can do. It’s just slightly warmer than neutral. It has a 9-blade iris and they are petal shaped like other Cookes, so the bokeh stopped down is gorgeous. Thanks to the huge front element it flares easily if you want it to, and the lens flares are beautiful. Focus breathing is extremely well controlled and there’s virtually none at the wide end, where breathing tends to be most noticeable.   20mm to 60mm is a very useful range for most projects, and It’s not too heavy at only 6 pounds. You can hand-hold it no problem and you don’t need a lens support if you are using a camera with a proper PL mount. This lens pairs perfectly with our Cooke Speed Panchro primes. Cooke even calls this lens a “VARO-PANCHRO.”

The Cooke 20-60m T3.1 was first sold in 1981 and was described as having “optical performance comparable to prime lenses.” That statement still holds true today. This is arguably the highest performing zoom lens Cooke ever made, except for possibly the modern and advanced Cooke CXX 15-40mm T2. The 20-60mm is a bit sharper wide-open than the 18-100mm. It has no noticeable chromatic aberrations even wide-open, which is something even modern, high-end prime lenses have issues with. It is sharp, but with that classic flattering thing that only Cooke lenses can do. It’s just slightly warmer than neutral. It has a 9-blade iris and they are petal shaped like other Cookes, so the bokeh stopped down is gorgeous. Thanks to the huge front element it flares easily if you want it to, and the lens flares are beautiful. Focus breathing is extremely well controlled and there’s virtually none at the wide end, where breathing tends to be most noticeable.

20mm to 60mm is a very useful range for most projects, and It’s not too heavy at only 6 pounds. You can hand-hold it no problem and you don’t need a lens support if you are using a camera with a proper PL mount. This lens pairs perfectly with our Cooke Speed Panchro primes. Cooke even calls this lens a “VARO-PANCHRO.”

 This incredible zoom covers all the focal lengths of a set of primes at a fast T3. It is sharp, but has that smooth, flattering Cooke look and awesome wide-open performance. With an amazing minimum focus distance of 2' 4", this lens can get extreme close-ups. At wide focal lengths the lens has ZERO breathing and at longer focal lengths it's extremely minimal.   This lens makes fantastic images, and there’s a reason half the films of the 20th and 21st centuries have been shot with Cooke lenses. Also worth noting, the 18-100 pairs really well with the popular vintage Cooke Speed Panchros, having similar color and contrast. This is the most current version of this classic lens, and it's in perfect optical and mechanical condition.   "I would judge the Cooke 18 - 100mm as one of the very best zoom lenses. When I carry a zoom, which admittedly is not that often, it is usually this lens."   - Roger Deakins

This incredible zoom covers all the focal lengths of a set of primes at a fast T3. It is sharp, but has that smooth, flattering Cooke look and awesome wide-open performance. With an amazing minimum focus distance of 2' 4", this lens can get extreme close-ups. At wide focal lengths the lens has ZERO breathing and at longer focal lengths it's extremely minimal.

This lens makes fantastic images, and there’s a reason half the films of the 20th and 21st centuries have been shot with Cooke lenses. Also worth noting, the 18-100 pairs really well with the popular vintage Cooke Speed Panchros, having similar color and contrast. This is the most current version of this classic lens, and it's in perfect optical and mechanical condition.

"I would judge the Cooke 18 - 100mm as one of the very best zoom lenses. When I carry a zoom, which admittedly is not that often, it is usually this lens."

- Roger Deakins

 There is nothing quite like a Cooke zoom. They have amazing optics and mechanics that are built to last. It is a fairly light-weight lens, considering the huge zoom range and the fact that it is almost half the weight of the Cooke 25-250mm MKIII. This lens compliments Cooke primes really well having very similar color and contrast and that same unique Cooke bokeh that only Cooke lenses have.

There is nothing quite like a Cooke zoom. They have amazing optics and mechanics that are built to last. It is a fairly light-weight lens, considering the huge zoom range and the fact that it is almost half the weight of the Cooke 25-250mm MKIII. This lens compliments Cooke primes really well having very similar color and contrast and that same unique Cooke bokeh that only Cooke lenses have.

 There is a good reason Barry Ackroyd chose the Canon 8-64mm T2.4 as his primary lens on HURT LOCKER - it does everything right. Not only is it 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. Super-16 zooms are known for their bad focus breathing, and this lens has none at the wide end and almost none at the long end. 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. We like this lens so much we have 2, which is perfect for multi-camera documentary shooting.

There is a good reason Barry Ackroyd chose the Canon 8-64mm T2.4 as his primary lens on HURT LOCKER - it does everything right. Not only is it 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. Super-16 zooms are known for their bad focus breathing, and this lens has none at the wide end and almost none at the long end. 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. We like this lens so much we have 2, which is perfect for multi-camera documentary shooting.

 This might be the ultimate documentary lens. It has roughly the field of view of 19-378mm in Super-35 terms, so you always have the focal length you need from wide to extreme telephoto. Canon Super-16 zooms got some press a while back for their use on HURT LOCKER. These days we can can really take advantage of these incredible, fast, light-weight zooms now that so many cameras offer a 16mm or 2K Center-Crop feature. Almost all of Sony's high-end Super 35 cameras, Arri, Canon, Panasonic and of course any RED camera all have the ability to take advantage of using the center of the image sensor and utilize some of the best glass out there. And of course the Blackmagic Pocket Cinema Camera has a native Super 16 sensor that pairs really well with this lens.

This might be the ultimate documentary lens. It has roughly the field of view of 19-378mm in Super-35 terms, so you always have the focal length you need from wide to extreme telephoto. Canon Super-16 zooms got some press a while back for their use on HURT LOCKER. These days we can can really take advantage of these incredible, fast, light-weight zooms now that so many cameras offer a 16mm or 2K Center-Crop feature. Almost all of Sony's high-end Super 35 cameras, Arri, Canon, Panasonic and of course any RED camera all have the ability to take advantage of using the center of the image sensor and utilize some of the best glass out there. And of course the Blackmagic Pocket Cinema Camera has a native Super 16 sensor that pairs really well with this lens.

 This lens started out as a Canon 300mm f2.8 L-Series FD, manual focus lens. The original FD mount was replaced by Century Precision Optics with a stainless steal PL mount and a permanent focus gear was attached. Century takes the conversion a step further and replaces the dated 8-blade iris with a cinema worthy 18-blade iris, which means this lens gives perfectly round and soft bokeh at all f-stops. If you need a fast, sharp 300mm lens, this is as good as it gets. As an added bonus the lens covers Full Frame sensors. This lens pairs well with Canon K-35 primes.

This lens started out as a Canon 300mm f2.8 L-Series FD, manual focus lens. The original FD mount was replaced by Century Precision Optics with a stainless steal PL mount and a permanent focus gear was attached. Century takes the conversion a step further and replaces the dated 8-blade iris with a cinema worthy 18-blade iris, which means this lens gives perfectly round and soft bokeh at all f-stops. If you need a fast, sharp 300mm lens, this is as good as it gets. As an added bonus the lens covers Full Frame sensors. This lens pairs well with Canon K-35 primes.

When your project demands the the cleaner look of modern lenses.

 

We believe that the project should dictate the choice in lens. While we love the character provided by vintage optics, it’s not right for every shoot. Often for product shots, VFX work, or just when a sharper cleaner look is needed, these modern lenses deliver.

 

 
 These are the brand new anamorphic lenses from Atlas Lens Co. Their look is reminiscent of vintage anamorphic lenses with their signature streaking lens flares, oval bokeh, and barrel distortion. Due to modern optical designs, lens coatings, and manufacturing techniques, they have a slightly cleaner look than some older anamorprhics. They focus closer than most anamorphic lenses and have excellent, reliable, modern housings.

These are the brand new anamorphic lenses from Atlas Lens Co. Their look is reminiscent of vintage anamorphic lenses with their signature streaking lens flares, oval bokeh, and barrel distortion. Due to modern optical designs, lens coatings, and manufacturing techniques, they have a slightly cleaner look than some older anamorprhics. They focus closer than most anamorphic lenses and have excellent, reliable, modern housings.

 It's not old glass, but it's fast glass and these lenses are exceptional. Sigma is a fairly new name to the world of cinema lenses, but soon everyone will be familiar with this brand. Although vintage lenses are more popular than ever, sometimes you need glass that is clean, sharp at any stop, and free of aberrations and distortion. these are some of the highest performing lenses available. Sigma got people to take notice when their 85mm was the highest scoring lens ever tested by DxOMark beating out the already legendary Zeiss Otus 85mm. They are sharp yes, but they are beautiful too. The Sigmas are a little warmer than neutral, which is great for skin tones, and every focal length produces soft, dreamy bokeh. It's easy to separate your subject from your background with these lenses. There is no perceptible breathing in the 20mm and 24mm, and breathing in the 35mm, 50mm and 85mm is very low. The build quality is first rate, with smooth, perfectly dampened focus and iris movement. To top it off, all 5 lenses cover Full Frame sensors, even the 20mm T1.5, which is one of the best wide angle lenses from any lens maker.

It's not old glass, but it's fast glass and these lenses are exceptional. Sigma is a fairly new name to the world of cinema lenses, but soon everyone will be familiar with this brand. Although vintage lenses are more popular than ever, sometimes you need glass that is clean, sharp at any stop, and free of aberrations and distortion. these are some of the highest performing lenses available. Sigma got people to take notice when their 85mm was the highest scoring lens ever tested by DxOMark beating out the already legendary Zeiss Otus 85mm. They are sharp yes, but they are beautiful too. The Sigmas are a little warmer than neutral, which is great for skin tones, and every focal length produces soft, dreamy bokeh. It's easy to separate your subject from your background with these lenses. There is no perceptible breathing in the 20mm and 24mm, and breathing in the 35mm, 50mm and 85mm is very low. The build quality is first rate, with smooth, perfectly dampened focus and iris movement. To top it off, all 5 lenses cover Full Frame sensors, even the 20mm T1.5, which is one of the best wide angle lenses from any lens maker.

 Angenieux rewrote the playbook with the EZ zooms. Only the Fujinon Premier 14.5-45mm T2 and 18-85mm T2 cover similar ranges at T2, but they cost $100,000 and $75,000. weigh 15 pounds and do not focus as close as the Angenieux EZs. This really is the zoom that can replace your primes on many projects. 15-40mm and 30-90mm is a great range, and and at T2 they rival the speed of many primes. As an added bonus the lens can also be configured to be a 22-60mm T3 and 45-135mm T3 zoom which cover beyond Full Frame, so they will cover ARRI Alexa LF, RED Monstro 8K and Sony Venice. This is possible by swapping out the rear optical group. In either set-up, the lenses maintains their amazing close-focus (21" and 22"), which is only about a foot from the front element! At 135mm that gets the EZ-1 close to macro territory. And the icing on the cake: the lenses only weigh 4.7 pounds each, which makes them great for handheld and even gimbal operation.  The lenses' look is classic Angenieux: sharp but flattering, contrasty, but not clinical, rendering natural, flattering skin tones. The flares are subtle and controlled, but still present and quite beautiful. There is no CA even wide-open and like almost all modern Angenieux zooms, virtually no focus breathing. The bokeh is one of the softest and smoothest I have seen, especially wide-open.  The lenses can be configured in either 15-40mm T2 or 22-60mm T3 and 30-90mm T2 or 45-135mm T3 in PL or EF mount. Please specify when booking.

Angenieux rewrote the playbook with the EZ zooms. Only the Fujinon Premier 14.5-45mm T2 and 18-85mm T2 cover similar ranges at T2, but they cost $100,000 and $75,000. weigh 15 pounds and do not focus as close as the Angenieux EZs. This really is the zoom that can replace your primes on many projects. 15-40mm and 30-90mm is a great range, and and at T2 they rival the speed of many primes. As an added bonus the lens can also be configured to be a 22-60mm T3 and 45-135mm T3 zoom which cover beyond Full Frame, so they will cover ARRI Alexa LF, RED Monstro 8K and Sony Venice. This is possible by swapping out the rear optical group. In either set-up, the lenses maintains their amazing close-focus (21" and 22"), which is only about a foot from the front element! At 135mm that gets the EZ-1 close to macro territory. And the icing on the cake: the lenses only weigh 4.7 pounds each, which makes them great for handheld and even gimbal operation.

The lenses' look is classic Angenieux: sharp but flattering, contrasty, but not clinical, rendering natural, flattering skin tones. The flares are subtle and controlled, but still present and quite beautiful. There is no CA even wide-open and like almost all modern Angenieux zooms, virtually no focus breathing. The bokeh is one of the softest and smoothest I have seen, especially wide-open.

The lenses can be configured in either 15-40mm T2 or 22-60mm T3 and 30-90mm T2 or 45-135mm T3 in PL or EF mount. Please specify when booking.

 These 3 zooms are all you need for just about any project and any camera, from 15mm to 200mm and Full Frame coverage on all 3 lenses. These are the perfect lenses to pair with Full Frame Cameras like the ARRI Alexa LF, RED Monstro, Sony Venice or the Sony a7SII. Of course they are great for Super-35 sensors as well. They have an amazing look: sharp, with beautiful, neutral color. The bokeh is one of the softest and smoothest I have seen thanks to the optical design and the rounded irises, which means you'll never have busy-looking out of focus highlights. The 15-30mm and 28-80mm zooms do not breath at all and the 70-200mm has less breathing than any other 70-200mm out there. They also have almost no distortion. These lenses behave like a Master Primes but with the convenience of zooms, and that's no exaggeration. Simply put, they just do everything right.

These 3 zooms are all you need for just about any project and any camera, from 15mm to 200mm and Full Frame coverage on all 3 lenses. These are the perfect lenses to pair with Full Frame Cameras like the ARRI Alexa LF, RED Monstro, Sony Venice or the Sony a7SII. Of course they are great for Super-35 sensors as well. They have an amazing look: sharp, with beautiful, neutral color. The bokeh is one of the softest and smoothest I have seen thanks to the optical design and the rounded irises, which means you'll never have busy-looking out of focus highlights. The 15-30mm and 28-80mm zooms do not breath at all and the 70-200mm has less breathing than any other 70-200mm out there. They also have almost no distortion. These lenses behave like a Master Primes but with the convenience of zooms, and that's no exaggeration. Simply put, they just do everything right.

 The cinema version of the Sigma 18-35mm T2 finally combines mechanics that are on par with its exceptional optics. There is a reason half a dozen companies have rehoused the 18-35mm. As soon as you have Sigma's cine version in your hands however, there will be no question that this by far has the best mechanics of any of them. This amazing lens is one of very few light-weight, wide-angle high-speed zoom lens available. It is perfect for Steadicam, Movi or Ronin use. In addition to its speed, the 18-35mm doesn't breath, which is amazing for lens design that was originally designed for still photography, It's sharp, has lovely bokeh, and focuses as close as 11". This is one of those lenses you should take with you on every project.

The cinema version of the Sigma 18-35mm T2 finally combines mechanics that are on par with its exceptional optics. There is a reason half a dozen companies have rehoused the 18-35mm. As soon as you have Sigma's cine version in your hands however, there will be no question that this by far has the best mechanics of any of them. This amazing lens is one of very few light-weight, wide-angle high-speed zoom lens available. It is perfect for Steadicam, Movi or Ronin use. In addition to its speed, the 18-35mm doesn't breath, which is amazing for lens design that was originally designed for still photography, It's sharp, has lovely bokeh, and focuses as close as 11". This is one of those lenses you should take with you on every project.

 The FOCUS OPTICS RUBY 14-24mm T2.8 is the widest full frame, cinema zoom available. The lens experts at Focus Optics took the legendary Nikon 14-24mm f2.8 and rehoused it in a proper cinema housing. The focus throw was lengthened and the direction was reversed so that it matches standard cinema lenses. The donor optics come from the Nikon 14-24mm f2.8, which is one of Nikon's "holy trinity" along with the 24-70mm and 70-200mm. It is still in production and is still sharper than any prime lens in that focal range. It really is that good. There is little to no distortion at any focal length and sharpness is at its peak at all f-stops. Thanks to it's aspherical elements and 9-bade iris, this lens creates gorgeous lens flares especially when pointed directly into the sun.  Nikon, Canon, Zeiss and Leica all make excellent 14mm or 15mm f2.8 prime lenses. However, the reason to choose this lens over a 14mm, 15mm prime is that ability to adjust your frame a little bit to get your frame perfect. If you are on a dolly, the last thing you want is to move the whole dolly because you need to zoom in 1 or 2 millimeter. This lens is also very light-weight so it's perfect for gimbals or Steadicam. The lens covers Full Frame24x36, so it's perfect for the growing number of larger format cameras.

The FOCUS OPTICS RUBY 14-24mm T2.8 is the widest full frame, cinema zoom available. The lens experts at Focus Optics took the legendary Nikon 14-24mm f2.8 and rehoused it in a proper cinema housing. The focus throw was lengthened and the direction was reversed so that it matches standard cinema lenses. The donor optics come from the Nikon 14-24mm f2.8, which is one of Nikon's "holy trinity" along with the 24-70mm and 70-200mm. It is still in production and is still sharper than any prime lens in that focal range. It really is that good. There is little to no distortion at any focal length and sharpness is at its peak at all f-stops. Thanks to it's aspherical elements and 9-bade iris, this lens creates gorgeous lens flares especially when pointed directly into the sun.

Nikon, Canon, Zeiss and Leica all make excellent 14mm or 15mm f2.8 prime lenses. However, the reason to choose this lens over a 14mm, 15mm prime is that ability to adjust your frame a little bit to get your frame perfect. If you are on a dolly, the last thing you want is to move the whole dolly because you need to zoom in 1 or 2 millimeter. This lens is also very light-weight so it's perfect for gimbals or Steadicam. The lens covers Full Frame24x36, so it's perfect for the growing number of larger format cameras.

Pair our lenses with the right camera.

 

We are happy to discuss which camera and lens package makes the most sense for your shoot. The ARRI Alexa Mini has been our workhorse camera, due it’s amazing image quality, compact size, and versatility, but we can provide any camera your production requires including camera systems from RED, Sony, Canon and others.

 

 
 This is the most popular camera on the market for a reason: Alexa image quality, 4:3 sensor, built-in ND filters, 200 fps, 4K, ARRI RAW, all in a small, light-weight camera. This is the perfect camera whether you need a proper 4:3 sensor to take full advantage of anamorphic lenses, or just a small camera for gimbal work.

This is the most popular camera on the market for a reason: Alexa image quality, 4:3 sensor, built-in ND filters, 200 fps, 4K, ARRI RAW, all in a small, light-weight camera. This is the perfect camera whether you need a proper 4:3 sensor to take full advantage of anamorphic lenses, or just a small camera for gimbal work.

Get the most out of your lenses.

 

We have lens adapters to mount our lenses to almost any camera system. We also have diopters, extenders, expanders, speed boosters, and extension tubes. We will make sure you can get the shot, from super-telephoto, to macro. If you don’t see the item you are looking for, just ask. Chances are we have it.

 

 
 This is arguably the best extender on the market right now. The optics are great, it's built like a tank and it has an ENG-lens style back-focus adjustment that is so quick and easy to use and is a lot easier than dealing with shims. Designed and manufactured with high grade, anodized aluminum body and stainless steel PL mounts, the Duclos 2X Extender excels at maintaining resolution throughout the field for Super 35 format lenses.

This is arguably the best extender on the market right now. The optics are great, it's built like a tank and it has an ENG-lens style back-focus adjustment that is so quick and easy to use and is a lot easier than dealing with shims. Designed and manufactured with high grade, anodized aluminum body and stainless steel PL mounts, the Duclos 2X Extender excels at maintaining resolution throughout the field for Super 35 format lenses.

 The Veydra 1.2x PL to PL Expander makes it possible to use our vintage zoom lenses designed to cover the current generation of larger sensor cameras. The Veydra 1.2x Expander works by enlarging the image circle of these lenses from 28 mm, to 36 mm diagonally introducing only a 1/2 stop of light loss during the process and allowing the lenses to fully cover larger sensors like RED Dragon 6K, RED Helium 8K and ARRI 4:3 Open Gate. The lenses should also be able to cover the Alexa LF in 4K 16x9 mode, which has a 36.35mm diagonal.

The Veydra 1.2x PL to PL Expander makes it possible to use our vintage zoom lenses designed to cover the current generation of larger sensor cameras. The Veydra 1.2x Expander works by enlarging the image circle of these lenses from 28 mm, to 36 mm diagonally introducing only a 1/2 stop of light loss during the process and allowing the lenses to fully cover larger sensors like RED Dragon 6K, RED Helium 8K and ARRI 4:3 Open Gate. The lenses should also be able to cover the Alexa LF in 4K 16x9 mode, which has a 36.35mm diagonal.

 The Leica Cine MacroLux diopters are arguably the best diopters available. Like all diopters the MacroLux allows a lens to focus closer than it’s minimum focus. What makes these diopters different is their quality mechanical design and most importantly their superior optics that produce images with no light loss and absolutely no image degradation. Even the best 138mm diopters, tend to produce some amount of image degradation, especially extra chromatic aberrations. That does not happen with the Leicas. With our Zeiss 28-80mm and 70-200mm, the image is just as sharp and crisp as ever, making them powerful macro zooms for table-top shooting.. When using the MacroLux diopters on vintage anamorphics, the image actually feels likes it’s improving! They are available in +1, +2 or stack them to get a factor of +3 for extreme macro work. They are compatible with any lens that has a 95mm front OD.

The Leica Cine MacroLux diopters are arguably the best diopters available. Like all diopters the MacroLux allows a lens to focus closer than it’s minimum focus. What makes these diopters different is their quality mechanical design and most importantly their superior optics that produce images with no light loss and absolutely no image degradation. Even the best 138mm diopters, tend to produce some amount of image degradation, especially extra chromatic aberrations. That does not happen with the Leicas. With our Zeiss 28-80mm and 70-200mm, the image is just as sharp and crisp as ever, making them powerful macro zooms for table-top shooting.. When using the MacroLux diopters on vintage anamorphics, the image actually feels likes it’s improving! They are available in +1, +2 or stack them to get a factor of +3 for extreme macro work. They are compatible with any lens that has a 95mm front OD.

Build your camera package the right way.

 

We know how important it is to be in the field with gear you can trust. The less time you spend fighting your equipment, the more time you have to get the shot. If you are looking for a particular matte box, follow focus, tripod or other piece of camera or lens support and you don’t see it here, please let us know. There’s a good chance we have it or we can get it.

 

 
 The Tilta Nucleus-M Wireless Follow Focus System features a 1000' transmission range, and comes with three lens drive motors with built-in wireless receivers, a FIZ hand controller, and two handgrips: one to control focus, and the other iris and zoom. The lens drive motors each feature a cine standard 0.8 MOD drive gear and two 7-pin connectors, which enables you to freely swap or interchange each motor. The motors power by daisy-chaining using the 7-pin cables, and each motor includes a 19mm rod clamp with 19 to 15mm reducing bushing.

The Tilta Nucleus-M Wireless Follow Focus System features a 1000' transmission range, and comes with three lens drive motors with built-in wireless receivers, a FIZ hand controller, and two handgrips: one to control focus, and the other iris and zoom. The lens drive motors each feature a cine standard 0.8 MOD drive gear and two 7-pin connectors, which enables you to freely swap or interchange each motor. The motors power by daisy-chaining using the 7-pin cables, and each motor includes a 19mm rod clamp with 19 to 15mm reducing bushing.

 This is the grand daddy of follow focuses. It's built like a tank, but light-weight. There's no play in gearing. It's reliable and we have all the accessories you need for any situation. Your AC will be very happy.

This is the grand daddy of follow focuses. It's built like a tank, but light-weight. There's no play in gearing. It's reliable and we have all the accessories you need for any situation. Your AC will be very happy.

 One of this follow focus' best features is its ability to switch focus direction, which is great when using Nikon lenses that have a reversed focus throw. It does not use a reversing gear. Instead you reverse the drive unit with one allen screw. The whole process takes less than a minute. Other features include a built in hard stop feature and a space-saving, snap-on bridge mechanism.

One of this follow focus' best features is its ability to switch focus direction, which is great when using Nikon lenses that have a reversed focus throw. It does not use a reversing gear. Instead you reverse the drive unit with one allen screw. The whole process takes less than a minute. Other features include a built in hard stop feature and a space-saving, snap-on bridge mechanism.

 The completely modular Cine.1 Matte Box from Chrosziel is built to be strong yet lightweight to fit into your handheld or studio camera rig. This particular iteration of the Cine.1 series can be mounted on 15mm LWS rods, and is configured with three independently rotating filter stages, which can be easily removed when not required by your production. It fits lenses up to 150mm outer diameter. One of the best features of this FF besides the removable filters stages is the incredible engineering of the swing away arm. It's height adjustable as well as left/right adjustable and features a tilt function to fix unwanted glare and reflections when using filters.

The completely modular Cine.1 Matte Box from Chrosziel is built to be strong yet lightweight to fit into your handheld or studio camera rig. This particular iteration of the Cine.1 series can be mounted on 15mm LWS rods, and is configured with three independently rotating filter stages, which can be easily removed when not required by your production. It fits lenses up to 150mm outer diameter. One of the best features of this FF besides the removable filters stages is the incredible engineering of the swing away arm. It's height adjustable as well as left/right adjustable and features a tilt function to fix unwanted glare and reflections when using filters.

 This is one of the lightest matte boxes available, yet it is still packed with features. It can quickly can go form 2 to 3 stages with the twist of one screw. It can also can go from a studio style swing-away matte box to a feather-weight clamp-on. As an added bonus the swing-away arm is height adjustable. When you need to keep weight to an absolute minimum, this is the best choice.

This is one of the lightest matte boxes available, yet it is still packed with features. It can quickly can go form 2 to 3 stages with the twist of one screw. It can also can go from a studio style swing-away matte box to a feather-weight clamp-on. As an added bonus the swing-away arm is height adjustable. When you need to keep weight to an absolute minimum, this is the best choice.

 This is one of the lightest 6x6 matte boxes available. It's well made and can cover lenses with front diameters up to 162mm. This is the matte box we recommend for our 25mm Cineovision anamorphic as well as the Cooke 18-100mm.

This is one of the lightest 6x6 matte boxes available. It's well made and can cover lenses with front diameters up to 162mm. This is the matte box we recommend for our 25mm Cineovision anamorphic as well as the Cooke 18-100mm.

 If you want the quality, control and reliability of a 2575 but in a lighter package, the 2060 is the perfect fluid head. The 2060 can handle cameras up to 83 pounds. It features a patented pan & tilt fluid drag system providing infinite and repeatable adjustments and can be adjusted down to "zero" setting, necessary for stable "whip" movements. Counterbalancing is also infinitely adjustable, which enables "tuning" of the head to precisely neutralize the camera's weight throughout the entire +/- 90° tilt range. The disc lock feature provides secure pan and tilt locking and the tilt-locking pin positively locks the head for fast and safe camera changes. Rental includes, standard sticks, baby sticks and a hi-hat, so you'll always be able to get the camera where you want it.

If you want the quality, control and reliability of a 2575 but in a lighter package, the 2060 is the perfect fluid head. The 2060 can handle cameras up to 83 pounds. It features a patented pan & tilt fluid drag system providing infinite and repeatable adjustments and can be adjusted down to "zero" setting, necessary for stable "whip" movements. Counterbalancing is also infinitely adjustable, which enables "tuning" of the head to precisely neutralize the camera's weight throughout the entire +/- 90° tilt range. The disc lock feature provides secure pan and tilt locking and the tilt-locking pin positively locks the head for fast and safe camera changes. Rental includes, standard sticks, baby sticks and a hi-hat, so you'll always be able to get the camera where you want it.

 The Sachtler 20P CF brings together the update of a classic fluid head with a quick-action, double extension carbon fiber tripod to provide a professional level of support for today's film and video needs and supports cameras up to 55 pounds.

The Sachtler 20P CF brings together the update of a classic fluid head with a quick-action, double extension carbon fiber tripod to provide a professional level of support for today's film and video needs and supports cameras up to 55 pounds.

 This is an excellent choice as a client or director's monitor as well as a tool for any director of photography. The color is accurate and true and the waveforms and vectorscope allow you to make confident lighting decisions. A great feature is the ability to display two inputs on screen at once. This means you don't have to trust that you have two calibrated monitors when shooting and monitoring with multiple cameras.

This is an excellent choice as a client or director's monitor as well as a tool for any director of photography. The color is accurate and true and the waveforms and vectorscope allow you to make confident lighting decisions. A great feature is the ability to display two inputs on screen at once. This means you don't have to trust that you have two calibrated monitors when shooting and monitoring with multiple cameras.

 It features a 7.7", 1280 x 800, OLED, touchscreen display with a 3400:1 contrast ratio, true blacks, and professional monitoring features such as waveform, histogram, vectorscope, anamorphic de-squeeze, and 3D LUT support. The Odyssey7Q+ can record up to DCI 4K (4096 x 2160) and Ultra HD (3840 x 2160) in the compressed Apple ProRes 422 HQ format or up to 2K/1080p using the uncompressed DPX file format. Our 7Q+ has all the licenses to record RAW for ARRI, Canon, Sony, Panasonic, and POV cameras.

It features a 7.7", 1280 x 800, OLED, touchscreen display with a 3400:1 contrast ratio, true blacks, and professional monitoring features such as waveform, histogram, vectorscope, anamorphic de-squeeze, and 3D LUT support. The Odyssey7Q+ can record up to DCI 4K (4096 x 2160) and Ultra HD (3840 x 2160) in the compressed Apple ProRes 422 HQ format or up to 2K/1080p using the uncompressed DPX file format. Our 7Q+ has all the licenses to record RAW for ARRI, Canon, Sony, Panasonic, and POV cameras.

 This is a favorite monitor of DPs and focus pullers alike. It's bright, it's super sharp, and most importantly it makes life on set a lot easier. Our kit includes D-Tap as well as battery power.

This is a favorite monitor of DPs and focus pullers alike. It's bright, it's super sharp, and most importantly it makes life on set a lot easier. Our kit includes D-Tap as well as battery power.

 The ikan Blitz 400 3G-SDI/HDMI Wireless Uncompressed Zero Delay Video System features uncompressed, zero delay wireless video. The system features a maximum range of 984' line-of-sight, and an optimal range up to 400'. It supports both HDMI 1.3 and 3G-SDI so you get uncompressed high-definition video. The included Sony L-Series battery plates come pre-installed and allow you to power the units easily and reliably. The units also include 4-pin LEMO power connectors so you can supply power externally with the included D-Tap to LEMO cables, allowing you to use the same pro batteries that are powering your camera to also power the Blitz.

The ikan Blitz 400 3G-SDI/HDMI Wireless Uncompressed Zero Delay Video System features uncompressed, zero delay wireless video. The system features a maximum range of 984' line-of-sight, and an optimal range up to 400'. It supports both HDMI 1.3 and 3G-SDI so you get uncompressed high-definition video. The included Sony L-Series battery plates come pre-installed and allow you to power the units easily and reliably. The units also include 4-pin LEMO power connectors so you can supply power externally with the included D-Tap to LEMO cables, allowing you to use the same pro batteries that are powering your camera to also power the Blitz.