Cooke SP3 Primes
These Cooke SP3 lenses are designed to share the beloved characteristics of the Cook Speed Panchro Series 3 lenses, hence the name, SP3s. These full-frame mirrorless lenses are compact and lightweight, making them an ideal choice for pairing classic vintage optics with small cameras and handheld gimbal setups. The Cooke SP3s offer distinct defocus with slightly over-corrected bokeh and cat's-eye shapes for swirled backgrounds, along with focus fall-off at the frame's edges that Cooke Panchro lenses are known for.
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Tokina Cinema Vista T1.5 FF
The Tokina Vista Primes blend modern lens attributes with a hint of vintage charm. This full-frame lens set delivers exceptional image quality with minimal distortion, chromatic aberration, and focus breathing, even at as wide as 18mm, with consistent colour and performance.
However, when these lenses are used wide open at their incredibly fast T1.5 aperture, they reveal a subtle vintage character. You'll notice a slight overcorrection of bokeh, cat's eye shapes at the frame's corners that create a captivating spiral defocus effect, and gentle spherical aberrations that produce a subtle bloom effect.
The true allure of the Vista lenses lies in their distinctive flares. They produce intricate patterns of teal and green, interspersed with flashes of rainbow-coloured iris fans. These lenses are ideal for those seeking nuanced optical qualities while covering the full-frame format, and offering a generous array of focal lengths to choose from.
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Cooke Anamorphic/i SF *Special Flare*
These Cooke Anamorphic/i Special Flare Lenses are high-quality PL mounted prime lenses with a 2x squeeze factor. They range from 25-100mm and all boast the classic "Cooke look" along with a pleasing oval bokeh synonymous with anamorphic lenses. The Special Flares also produce the iconic horizontal anamorphic lens flares
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Cooke Anamorphic/i Full Frame SF *Special Flare*
These Cooke Anamorphic full-frame lenses have a squeeze factor of 1.8x resulting in a 2.7:1 image. They offer an extremely wide angle of view, similar to Imax, and offer all the classic characteristics of anamorphic lenses including the distinctive horizontal special flare.
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Cooke 65mm Macro Anamorphic/i Special Flare
This 65mm Cooke Anamorphic lens is a macro offering very close focus for doing extreme close-ups. The Cooke Anamorphics have a squeeze factor of 2x and offer classic anamorphic characteristics including the iconic horizontal anamorphic flare.
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Angenieux Optimo Ultra Compact 21-56mm
This zoom lens is the full frame equivalent of the classic Optimo 15-40mm. It has an impressive T stop of 2.9 throughout the range and shares the same optical look and quality of the Ultra 12x. The lens is compact and light weight making it perfect for handheld work or to use alongside the Ultra 12x lens.
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Cooke Varotal 25-250mm T3.9
This classic zoom lens from Cooke offers vintage qualities including softness and subtle vignetting at the edges of frame, characterful bokeh and interesting flaring. This lens offers a great focal range, from wide mid to very telephoto, within a surprisingly compact size.
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IronGlass Soviet Rehoused MKII
The Soviet Set consists of six classic lenses from the USSR, including the legendary Helios 44-2. Featuring slightly overcorrected bokeh, exaggerated spherical aberration (dream effect), gorgeous yet interesting focus falloff, and out of this world flares, these lenses are like nothing else available. With more than Full Frame coverage across the set, the MKII rehousing makes mechanical and material improvements over the original rehousing.
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Canon Rangefinder Prime Lenses
Conjure another era with the Vintage FF ‘Canon Dream Lens’. Rehoused by TLS, the original ‘50’s & ‘60’s glass can combat the digital cleanness of modern cinema cameras with golden flares, soft glows, excellent close focus performance & organically textured highlights that keep their vintage flavour irrespective of stop.
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Sigma FF High Speed Primes
The Sigma FF High Speed Primes cover full frame lenses and all have a maximum T stops of T1.5. They’re all lightweight with a similar size and shape making them suitable for gimbal setups with full frame cameras. All the primes in the set are PL mount and have fully manual cine style gears for focus and iris.
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Sony VENICE 2
The Sony Venice 2 has a 8K full frame sensor with dual base ISO of 500 and 3200 ISO, which can be switched to the original 6K Venice sensor to allow for higher frame rates. The body incorporates AXSM slots directly and can record X-OCN RAW and 4K ProRes 4444 internally.
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Sony VENICE
The Sony VENICE is a full frame cinema camera, with a newly developed sensor capable of capturing 15+ stops of latitude. The 6K full frame camera allows it to shoot almost any format or aspect ratio for 4K production.
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Phantom VEO4K-PL
The Phantom VEO4K-PL is a super slow-motion camera that produces highly detailed 4K images at up 1,000 fps or 2000fps @ 2k. It has an identical sensor, image quality and frame rate capacity as the FLEX4K but with half the weight, half the size and half the price. Wet hire advised.
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Oppenheimer/Zeiss 100mm Macro Prime Lens
This Zeiss 100mm Macro has been rehoused by Oppenheimer with a PL mount. It extends from 1:10 to 1:1 and has an exposure compensation scale.
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Angenieux Optimo 45-120mm Cine Zoom Lens
Angenieux’s Optimo 45-120mm Zoom lens is from their 35mm film range, providing a good zoom range with an aperture of f2.6 throughout.
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Angenieux Optimo DP 16-42mm Cine Zoom Lens
Angenieux Optimo DP 16-42mm zoom lens is specifically designed for digital Super 35 cameras. This wide angle zoom offers almost no breathing with a T2.8 aperture all the way through the zoom range. It pairs well with the Angenieux Optimo DP 30-80mm zoom lens.
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Angenieux Optimo DP 30-80mm Cine Zoom Lens
Angenieux Optimo DP 30-80mm Zoom lens is specifically designed for digital super35 cameras. This standard angle zoom offers almost no breathing with a T2.8 aperture all the way through the zoom range. It pairs well with the Angenieux Optimo DP 16-42mm zoom lens.
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Cooke Varotal 20-100mm T3.1
This classic zoom lens from Cooke offers vintage qualities including softness and subtle vignetting at the edges of frame, characterful bokeh and interesting flaring. The zoom ranges covers wide, mid and long focal lengths in one lens and has a consistent T/3.1 throughout the range.
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Cooke Varotal 18-100mm T3
This classic zoom lens from Cooke offers vintage qualities including softness and subtle vignetting at the edges of frame, characterful bokeh and interesting flaring. The zoom ranges covers wide, mid and long focal lengths in the one lens and has a consistent T/3 throughout the range.
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Sigma 50-100mm T2
The Sigma 50-100mm is a S35 mid-long zoom lens that has a very fast aperture of T2, in a lightweight cine housing.
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Canon CN10x25 IAS S 25-250mm
The Canon CN10x25 25-250mm Lens is a Super35 PL Mount ENG style zoom lens with a handle servo and a 1.5x optical extender that not only extends the zoom, but also increases the image size to cover a Full Frame sensor.
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Angenieux Optimo Ultra 12x (FF / VV / S35 / U35)
The Angenieux Optimo Ultra 12x is a great long-range zoom for high-end productions such as feature films, TV series, live stage, commercials, music videos. It offers wide to long focal lengths at a consistent fast aperture. The rear element is interchangeable to adapt the lens from S35 up to Full Frame coverage.
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ARRI / Zeiss Ultra Prime Lenses
A high quality ARRI / Zeiss PL mounted Prime lens set from 16mm to 135mm, all with a maximum aperture of f1.7.
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Cooke S4i Prime Lenses
Cooke S4i Prime Lenses are high quality PL mounted prime lenses that come as a set ranging from 14mm to 135mm. All S4i Prime Lenses have a maximum aperture of f1.8 and data connection.
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Cooke S4 Mini/i Lens Set
Set of 5 lenses.
These Cooke lenses are a lightweight compact version of the popular Cooke S4/i lenses. They offer all the sought-after characteristics of the Cooke look with a max T-stop of 2.8. These are a perfect light weight alternative to the S4s for setups such as gimbals requiring lighter lenses.
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Cooke Panchro/i Classic Lenses
Cooke have recreated their vintage Panchro lenses by going back to the original 1920 designs for the glass and building them into S4 style housing. The results are a set of primes with vintage characteristic mixed with modern touches like sharp centres, consistent colour and modern housing
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Cooke Speed Panchro S2/S3
These legendary Cooke lenses designed in the 1920s provide a beautiful vintage look, perfect for adding character to a digital image. These lenses offer a unique bokeh giving a dream-like feel to the out-of-focus areas, aging coating providing a warm yellow colour palette as well as interesting lens flares.
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Atlas Orion 2x Anamorphic Primes – SET B
These affordable 2x anamorphic primes lenses offer a fast aperture of T2 and vintage anamorphic characteristics when used with a wide-open iris.
SET B includes 3 lenses ranging from 32-80mm.
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Atlas Orion 2x Anamorphic Primes – SET A
These affordable 2x anamorphic primes lenses offer a fast aperture of T2 and vintage anamorphic characteristics when used with a wide-open iris.
SET A includes 3 lenses ranging from 40-100mm.
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Bausch & Lomb Super Baltars TLS
These TLS rehoused lenses originally built in the 1950s produce very vintagey, warm, low contrast images with lots of flaring. They have fast T stops at T2.3 for most of the set and have been rehoused by TLS for high-performance modern operation.
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KOWA Cine Prominar TLS Spherical Primes
These vintage spherical lenses from the 1960's offer sharp, low contrast images with a cool white balance and are famous for their unique warm golden lens flares. This set has been rehoused by TLS, are lightweight and compact and have consistent white balance throughout the set.
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Angenieux EZ2 15-40mm T2 – S35
The Angenieux EZ2 15-40mm is a PL zoom lens for S35 Sensors. It's lightweight and features a fast T2 across the zoom range. The lens offers similar characteristics to other zooms from Angenieux. We also have the Full Frame version of this lens.
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Angenieux EZ1 30-90mm T2 – S35
The Angenieux EZ1 30-90mm is a PL zoom lens for S35 Sensors. It's lightweight and features an extremely fast aperture (T2 )across the zoom range. The lens offers similar characteristics to other zooms from Angenieux. We also have the Full Frame version of this lens.
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Technovision 1.5x Anamorphic Full Frame
These anamorphics are inspired by the Technovision anamorphics from the 1970s. The coating has been designed to achieve high-contrast images with lots of flares and chromatic aberrations, achieving a very vintage look. The 1.5x squeeze factor is flexible for optimal resolution on 3:2 full frame and 16:9 S35 sensors.
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Fujinon Premista 80-250mm T2.9
This Fuji full frame lens offers mid to long angle focal lengths, all at a constant T2.9 throughout the zoom range. The 80-250mm is quite compact compared to other full-frame zooms available, making it suitable for Steadicam and gimbal use. The image produced is clean, with neutral white balance and minimal distortion.
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Fujinon Premista 28-100mm T2.9
This Fuji full-frame lens offers wide to mid-angle focal lengths, all at a constant T2.9 throughout the zoom range. The 28-100mm is quite compact compared to other full-frame zooms available, making it suitable for Steadicam and gimbal use. The image produced is clean, with neutral white balance and minimal distortion.
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Fujinon Premista 19-45mm T2.9
This Fujinon full-frame lens offers very wide-angle focal lengths, all at a constant T2.9 throughout the zoom range. The 19-45mm is quite compact compared to other full-frame zooms available, making it suitable for Steadicam and gimbal use. The image produced is clean, with neutral white balance and minimal distortion.
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Canon FD 50-300 T4.9 Full-Frame Zoom
This rehoused Canon FD 50-300 zoom lens covers full frame and is the perfect match for the vintage aesthetics of the Canon K35, FD and any vintage full frame primes in general. It offers slight low contrast look, spherical aberrations, as well as S.S.C coating which produce beautiful K35 lens flares.
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Cooke S8/i Full-Frame
Cooke S8/i primes cover full frame and offer a very fast aperture of T1.4 allowing for incredibly shallow depth of field. All the glass in the lens is a spherical design which allows for imperfections at the edge of frame, giving a more organic vintage look to the lenses.
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Angenieux EZ2 22-60mm T3 – FF/VV
The Angenieux EZ2 22-60mm is a PL zoom lens for Full Frame / Vista Vision Sensors. It's lightweight and features a fast T3 across the zoom range. The lens offers similar characteristics to other zooms from Angenieux. We also have the Super35 version of this lens.
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Angenieux EZ1 45-135mm T3 – FF/VV
The Angenieux EZ1 45-135mm is a PL zoom lens for FF / VV Sensors. It's lightweight and features a fast T3 across the zoom range. The lens offers similar characteristics to other zooms from Angenieux. We also have the Super35 version of this lens.
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Petzval 58mm & 85mm
These Petzval full frame stills lenses, first designed in 1840, were recreated in 2013 by Lomography and now rehoused in PL mount by TLS. These optics have a unique and extreme vintage look warping the edges to create a spiral drawing focus into the centre of the frame, as well as stunning iris flares.
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Leica R Cinescope
This set of Leica R Cinescope Full Frame lenses have been fully rehoused by Cinescope and have PL mounts. The set is made up of a mixture of Elmarit and Summilux lenses. Their look are a perfect vintage option for modern full frame digital sensors.
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Alexa Mini LF
The Alexa Mini LF incorporates all the aspects of the Alexa Mini, small build, filmic colour and renditioning, but with a full frame sensor. The full frame sensor is 4.5K making it acceptable for Netflix productions and can record 4K, HD or ARRIRAW.
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Canon K35 TLS Lens Set
This extended Set Of Canon K35 Full-Frame* Lenses, rehoused by TLS, display superb vintage qualities in their optics, such as soft edges, a low contrast look and flares.
*The 18mm is not full-frame but Super35
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Angenieux Optimo Primes
These Angenieux Optimo Primes cover full-frame sensors with fast apertures of T1.8. The look of these lenses can be customised from neutral and clean to low contrast vintage with the ability to change internal elements and adding rear filters.
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Leitz Primes
These full frame Leitz Primes have fast T stops of 1.8 and offer very high optical quality. They offer constant exposure and resolution across the whole image, impressive contrast, neutral white balance and pleasant subtle blooming in lens flares.
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ARRI Signature Primes
ARRI Signature Prime lenses are the first Arri primes designed exclusively for the needs of digital cinema cameras. They are modern, full frame, high end lenses that deliver clean, elegant and ultra smooth high resolution images. They are nearly completely free from breathing, distortion and chromatic aberrations.
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ARRI Hi-5 LCS Hand Unit
This wireless lens control hand unit from ARRI can control 3 axis and offers advanced features such as interchangeable radio modules, auto-detecting focus rings, as well as ARRI and third-party camera setting control. When used with a C-force Mini RF motor, allows for a compact Alexa Mini style setup on any camera.
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ARRI LMB-5 Clip-On Matte Box
A lightweight clip-on matte box for 35mm and digital cinematography
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ARRI LMB-25 Matte Box
A lightweight 3 tray matte box, great as a clip on alongside the rail mounted MB28 or MB18.
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ARRI LMB 4×5 Matte Box
This light weight, 3 tray, clip on mattebox is similar to the LMB-25 design, using a lot of the same accessories. The rear tray can also be easily removed to quickly switch between 3 and 2 tray set up.
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Ronford Baker Mitchell Tri-Hat
This MOY fitting high hat has 3 tube legs with adjustable height and position to allow for the low mounting of tripod heads on uneven ground
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Ronford Baker Three Way Leveller
This MOY fitting accessory allows for fast and precise tripod head levelling when using a Bazooka.
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KOWA R FF Primes
These vintage Ancient Optics Kowa full frame lenses have been rehoused by TLS from Kowa R stills photography lenses from the 60-70's era. They offer sharp, low contrast images with stunning flares. They are small and light weight with consistent, fully manual modern housing from TLS.
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Sachtler Cine 2000 Short Legs
These short legs are heavy duty and have a 150mm bowl for large cine fluid heads.
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RED Komodo 6K
The RED Komodo is a very small and compact S35 6K camera that records RED Raw internally. The lens mount is Canon RF which allows it to be adapted to any mount type. It's incredibly small size makes it perfect for gimbal and drone work.
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Zeiss Supreme Full Frame Primes
The Zeiss Supremes cover over full frame and boast a fast aperture of T1.5 across the set. They have a very pleasing sharpness that is crisp but gentle achieving subtle detail rendering. They’re also ideal operationally with consistent front diameters, consistent focus and iris ring positioning.
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CineTape 2
This Cine Tape Measure System device uses ultrasonic waves to continuously calculate the distance between a subject and the camera's film-plane and shows values in real time to assist pulling focus. The CineTape 2 is smaller and lighter than the original.
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SXU-1 Lens Control
ARRI’s SXU-1 (Single Axis Unit) is designed to control 1 axis of a lens wirelessly. The handset combined with ARRI’s RF Mini Gear, makes the perfect compact set up for wireless focus pulling. As there’s no brain to mount it makes the kit ideal for gimbal set ups where weigh and space are a factor.
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ARRI UMC-4 Universal Motor Control Unit & ARRI CLM-4 Control Lens Motors
The ARRI UMC-4 Universal Motor Control Unit is a compact wireless lens control unit that comes with 3 x ARRI CLM-4 Control Lens Motors and is controlled wirelessly by the ARRI WCU-4 Wireless Lens Control Unit to give wireless remote control over focus, iris and zoom.
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ARRI AMC-1 Active Motor Controller & CMotion CForce Mini Lens Motors
The ARRI AMC-1 Active Motor Controller is a lightweight and compact wireless lens control unit that comes with 3 x CMotion CForce Mini Lens Motors and is controlled wirelessly by the ARRI WCU-4 Wireless Control Unit to give wireless remote control over focus, iris and zoom.
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ARRI WCU-4 Wireless Lens Control Unit
This ARRI WCU-4 Wireless Lens Control Unit is the universal wireless 3-axis lens controller that works with the ARRI UMC-4 Universal Motor Control Unit plus ARRI CLM-4 Control Lens Motors, the ARRI AMC-1 Active Motor Controller plus CMotion CForce Lens Motors and ARRI ALEXA Mini plus CMotion CForce Lens Motors.
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Sony VENICE with Rialto Extension System
Combining the Sony VENICE with the Extension System allows you to separate the sensor and lens mount from the main body via a tethered cable up to 5.5m in length. This compact and lightweight block is great for specialist rigs, such as gimbals and car mounts without any loss in quality over the standard all-in-one setup.
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Sony VENICE with AXS-R7 RAW Recorder
The Sony VENICE is a full frame cinema camera, with a newly developed sensor capable of capturing 15+ stops of latitude. Combined with the R7 recorder the camera can also shoot RAW to Sony’s X-OCN format boasting small file sizes compared to other RAW formats.
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RED GEMINI DSMC2 5K
The RED Gemini boasts a 5K s35 sensor with dual ISO, making it suited for low light shooting. The DSMC2 style body is small and compact allowing it to be built into any configuration required and all with REDs versatile RED Raw recording for high-quality files for grading at flexible data rates.
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Alexa Mini
The ARRI Alexa Mini is a mini version of ARRI’s Alexa and has most of the features of the Alexa and Amira cameras including a 4:3 sensor, 200fps recording and the same look and colour science. It’s a compact, modular camera in a uniform box design.
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Sony PMW-F55
Sony PMW-F55 has the ability to shoot 4Kor HD to its own SxS Pro+ cards using Sony’s XAVC codec. Adding the AXS-R5 recorder enables the Sony F55 to shoot 4K RAW.
Our F55 also comes with the CBK-55PD Codec Board which supports ProRes 4444, ProRes 422 (HQ), ProRes 422, DNxHD 220x and DNxHD 145 at a variety of frame rates.
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Canon K35 Prime Lenses – Extended Set
This Academy Award-winning extended Set Of Canon K35 Full-Frame* Lenses, rehoused by P+S Technik, display superb vintage qualities in their optics, such as soft edges, a low contrast look and flares. All the lenses in this set have been fully colour matched.
*The 18mm is not full-frame but Super35
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ARRI Master Prime Lenses
These ARRI / Zeiss Master Primes cover S35 sensors and offer very high optical performance, providing clean crisp images at super speed apertures of T1.3. These primes colour and characteristics match the ARRI Alura zoom lenses.
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SmallHD 1303 HDR 13” Monitor
This SmallHD 13” Monitor is a super bright LCD monitor that's the perfect lightweight alternative to a 17”. At 1500 NITs output it's great for use in sunlight and can display HDR images. The 2-pin LEMO out and mounting options allow for a seamless integration with accessories such as the Teradek Bolt wireless receiver.
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Convergent Design Odyssey 7Q+ Monitor/Recorder
This 7.7” OLED on-board monitor comes with all the standard video assist features and the ability to use both built-in and user created LUTs. It's also a recorder capable of recording in Apple ProRes, DPX or in various brands of RAW via both SDI and HDMI as well as monitoring up to four separate simultaneous HD streams.
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Convergent Design Apollo Multicamera Recorder/Switcher
The Convergent Design Apollo Multicamera Recorder/Switcher is a 7” multiple camera monitor recorder. It can take up to four HD SDI inputs which can be separately recorded along with a fifth live mix of the four feeds.
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Teradek Bolt 3000 XT Dual Receiver
The Teradek 3000 wirelessly transmits HD signals with a line of sight range of approximately 3000ft. It includes input for SDI and HDMI and is compatible with 3rd Gen Teradek 3000’s, Sidekicks and 703 Bolt monitors.
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Teradek Serv Pro
This Teradek transmitter takes a SDI or HDMI signal and encodes the image as H.264 so that it can be wirelessly viewed from up to 10 tablet or phone devices using Teradek’s VUER app.
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SmallHD 1703 P3X 17″ Studio Monitor
This SmallHD 1703 P3X 17” HD LCD monitor can display colours up to the P3 standard, 10bit colour accuracy and wide viewing angle. The display also boasts an output of 900nits for easy viewing in bright exteriors and HDR preview.
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SmallHD Cine 24 4K High Bright Monitor
This 24" UHD field monitor is super bright with a maximum of 1350nits, can display the full P3 colour space and offers all the same useful monitoring tools from the whole SmallHD range. This monitor is perfect when critical viewing of a 4K picture is needed.
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Teradek Link Pro
Used in conjunction with the Teradek Serv Pro this device can link several Serv Pros allowing on-set monitoring of up to 4 cameras on one phone or tablet device as well as increasing the Serv Pro signal range up to 1000ft. If connected to the internet, the Link Pro also allows off-set monitoring with a Core subscription.
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Vaxis Storm 1000S Wireless Video Transmitter
This video transmitter provides both SDI and HDMI connection, has a range of up to 1000ft and supports transmission up to 1080p HD video, audio, timecode and record trigger.
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MB 436 Matte box
This compact and affordable 2 tray matte box is 15mm rail mounted and is supplied with top flag and draw string donut to work with any lens it’s paired with.
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ARRI LMB 6×6 Matte box
ARRI's lightweight LMB 6x6 matte box is designed to cover lens with large front diameters with 3 x 6.6x6.6 trays for large filters. I can be clip-on or 19mm rail-mounted as well as including the swing away tilting bracket to eliminate filter reflections.
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Sachtler Cine 30 HD Tripod
The Sachtler Cine 30 HD Tripod is a heavy duty fluid head featuring sideload mechanism for quickly attaching or releasing a camera. It comes with lightweight 2-stage carbon fibre legs.
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OConnor 2560 Fluid Head
The smaller brother to the 2575D Fluid Head, it offers the same functionality in a smaller package and still has an impressive maximum payload of 37.7kg
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Preston FI+Z 3 Axis Wireless Lens Control System
Gives wireless control over focus, iris and zoom.
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Zeiss Compact Primes (CP2)
A set of Zeiss Primes from 21mm to 85mm for PL or EF mount.
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ARRI FF-5 HD Follow Focus Unit
A lightweight follow focus with 1:1 gear ratio for smaller lenses, such as ENG and stills lenses.
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ARRI FF-4 Follow Focus Unit
The industry standard follow focus for 35mm and digital cinematography with 1:2 gear ratio for 35mm lenses.
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ARRI MB-18 Production Matte Box
The industry standard rail mounted production matte box with 3 x independently rotating filter tray holders.
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ARRI MB-28 Rail Mounted Matte Box
19mm rail mounted production matte box for 35mm and digital cinematography
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