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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
The Sigma 50-100mm is a S35 mid-long zoom lens that has a very fast aperture of T2, in a lightweight cine housing.
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.
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.
A high quality ARRI / Zeiss PL mounted Prime lens set from 16mm to 135mm, all with a maximum aperture of f1.7.
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.
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.
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
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.
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.
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.
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.
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
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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
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.
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.
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.
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.
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.
A lightweight clip-on matte box for 35mm and digital cinematography
A lightweight 3 tray matte box, great as a clip on alongside the rail mounted MB28 or MB18.
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.
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
This MOY fitting accessory allows for fast and precise tripod head levelling when using a Bazooka.
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.
These short legs are heavy duty and have a 150mm bowl for large cine fluid heads.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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
Gives wireless control over focus, iris and zoom.
A set of Zeiss Primes from 21mm to 85mm for PL or EF mount.
A lightweight follow focus with 1:1 gear ratio for smaller lenses, such as ENG and stills lenses.
The industry standard follow focus for 35mm and digital cinematography with 1:2 gear ratio for 35mm lenses.
The industry standard rail mounted production matte box with 3 x independently rotating filter tray holders.
19mm rail mounted production matte box for 35mm and digital cinematography
The industry standard head for 35mm cameras weighing up to 40.8kg.