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Cooke Speed Panchro Set Includes: 18/25/32/40/50/75/100mm P&S Price : $44,000.00 USD

Arri UP 12mm in Good Condition Price: $9,000 omar@raw-entertainment.com

Hi there! I built two sets of Leica R's for a feature and now am looking to let go one of them, if there is demand right now. The set consists of: Leica R 19mm 2.8 V1 Leica R 21mm 4.0 Leica R 24mm 2.8 V1 Leica R 28mm 2.8 V1 Leica R 35mm 1.4 Summilux Leica R 50mm 1.4 Summilux Leica R 80mm 1.4 Summilux (optional) Leica R 90mm 2.0 (my second set consists of a lot more focal lengths, if you are looking to add more lenses) They are all from the same time period and match very well. All have been serviced, declicked, focus gears, 80mm universal fronts (apart from the 19), and original Leica UV Filters (apart from the 19). Very good condition & they did a beautiful job on the full frame sensor. Located in Vienna, Austria - can be shipped worldwide Hit me up for more infos, pictures & price suggestions - I will update this post later on Thanks! Best, Patrick

I'm writing an essay and comparing optical artefacts between different lenses in different price ranges. Being able to compare these requires me to determine what a desirable result is and what an undesirable result is. Logically an artefact is a defect so it should be undesirable, but as well all know lens flares are a commonly used artefact in movies. Is there a way to determine what a good "lens flare" is?

For Sale : Canon CN-E 30-300mm T2.95 Lens EF Mount. $22,000 US

F.S. Angenieux Optimo Zoom 28-340mm Lens $52K

ARRI Ultra Prime 40mm T1.9 M lens in perfect condition for sale in Los Angeles. No scratches or flaws of any kind. Non-local buyers must cover shipping and insurance. Asking $10,000. Specs: ARRI Ultra Prime 40mm T1.9 M Lens Aperture T1.9 to T22 Close Focus 0.38m / 1 1/4’ Length (lens mount to front) 91mm / 3.6” Horizontal angle view ANSI Super 35 (1) l’ = 12.45mm (4) 34.7 ○ Horizontal angle view DIN Super 35 (2) l’ = 12.45mm (4) 33.2 ○ Horizontal angle view Normal 35 (3) l’ = 11.00mm (4) 30.6 ○ Front diameter 95mm / 3.7’ Weight 1.0kg / 2.2lbs Item number meter K2.47317.0 Item number feet K2.47329.0

32mm Cooke Speed Panchro (T2.3) For Sale. Arri Standard Mount. Serial Number starts with a 5. I also have a 75mm CSP that I'm selling, listed here separately. I'm asking USD $2,200 for this lens. Preference will be given if there's a buyer who wants to buy both lenses together. I popped it on my Panasonic S1H and unsurprisingly, it doesn't cover Full Frame (see portholing picture in the photo album). This is a Super 35 lens, although there's a bit of darkening at the edges noticeable on these S35 4:3 aspect ratio shots, but it's *barely* noticeable in 16:9, especially if you're not shooting white walls, and certainly not noticeable in anything wider like 2:1 or 2.35:1. Typical of Cooke Speed Panchros of this vintage, it has some light coating scratches in the front and rear elements, (including one deeper scratch near the edge of the front element, see pictures) but nothing that would affect the image. Duclos told me there's some haze and contamination (see picture) in the optics, and some oil on the iris blades as well. It could use a service, or rehousing somewhere like P+S or TLS. I've included a few shots (of the camera operator figurine from a low angle), shot at T2.3 (Wide Open), T2.8, T4, and T5.6. If you're close enough in Brooklyn, Manhattan, or Queens, I can deliver by Uber. Or I can ship. Uploaded file size limits here are pretty small, so I'm going to see if linking to a photo album works: https://flic.kr/s/aHsmPk26hi

For sale is a rare 75mm in excellent condition. Arri Standard Mount. It doesn't say "Series II" on it, so I'm pretty sure it's a Series I. Serial Number starts with a 5. I also have a 32mm Series II CSP that I'm selling - I think I'll make a separate post for that. I popped this on my Panasonic S1H and unsurprisingly, it covers Full Frame (two pictures attached). Typical of Cooke Speed Panchros of this vintage, it has some very light coating scratches in the front and rear elements, but nothing that would affect the image in any way. This is a very good candidate for rehousing at TLS. If you're close enough in Brooklyn, Manhattan, or Queens, I can deliver by Uber. Or I can ship. Uploaded file size limits here are pretty small, so I'm going to see if linking to a photo album works: https://flic.kr/s/aHsmPjYQy9

Does anyone have a reliable list of the image circles of various lenses as I can only find one from 2013, or know an app that will tell me what they are. I have looked and different websites give me different information. I don't want to search through every manufacturers website especially as many seem to not add this and it seems such an obvious thing to already exist but I am struggling to find one. Thanks

Hello , I sure hope you; your family and friends have been able to stay healthy and safe these last few months and ready to work I know many of us are ready to get back working. I do have to share the good news from the conversations I am having with clients, the emails I am receiving and posts of various social media platforms that they are starting to get calls and production getting put back on schedule. Slowly but surely. One thing I did notice there was not a huge influx of used equipment coming in for sale. What I found was most were holding on waiting for business to get back on schedule and no interest in selling out. Very Encouraging! Below you will find some of our newest listings and you will see some Great deals and Great Savings to bring down your cost of doing business. If you see something that you have an interest in or or gear you are looking for not on this list or our website or equipment you would like to sell Call or email Coulton@newprovideo.com 843-554-7811. He is ready to make a deal! We also deal in new equipment and our prices are competitive Sony, Red, Panasonic, Teredek, Newtek, Most of the Vitec Line. Cameras Lenses & Accessories! If you are looking for Sony PXW FX9's I have those in stock ready to ship! Have a Great & Safe Day! Sincerely, Barbara Cooke T2.3 Anamorphic/i Prime Lens Set (25,32,40,50, 65MACRO 75,100, 135MM) -$154,000 Phase One XF Camera with iQ4 150MP Back -$46,000 Leica Summilux C (16, 18, 21, 25, 29, 35, 40, 50, 65, 75, 100, & 135mm)-$342,000 Arri Master Primes (18, 21, 25, 27, 35, 40, 50, 65, 75, & 100mm)--$186,000 Arri Fujinon Alura 45-250mm--$18,500 Angenieux Optimo 15-40mm T2.6 Zoom Lens--$14,900 Angenieux Optimo 28-76mm T2.6 Zoom Lens--$16,000 Angenieux Optimo 24-290mm Zoom Lens--$31,500 Angenieux Optimo 45-120mm T2.8 Zoom Lens-$15,900 Angenieux Optimo Style 16-40mm T2.8 Zoom Lens-$10,750 Canon CN-E 15.5-47mm Cinema Zoom Lens (choose PL or EF mount)--$9,250 Canon CN-E 30-300mm Cinema Zoom Lens (choose PL or EF mount)--$21,000 Canon CN-E 30-105mm Cinema Zoom Lens (choose PL or EF mount)--$7,500 Cooke 18-100mm T3.0 Zoom Lens-$11,500 WE ARE HEARING SERIOUS OFFERS ON THE FOLLOWING LENSES Zeiss CZ.2 Compact Zoom 15-30mm Zoom Lens Angenieux 25-250mm HR Zoom Lens Canon CN7 (17-120m) with Servo Canon Century 150-600mm T6.7 PL Zoom Lens TLS Super Baltars (20, 25, 35, 50, 75, 100) Leica Macrolux Diopter Set +.5, +1, & +2 Panchro/i Classic (18,25,32,40,50,75,100) Zeiss Standard Speed 10mm T2.1 Lens Zeiss Standard Speed 12mm T2.1 Lens Zeiss Standard Speed 14mm T2.1 Lens "Zeiss Super Speed (18,25,35,50,65,85) M2's " Zeiss Super Speed 35mm T1.3 Lens Leica 60mm Macro F2.8 PL Lens Leica Summicron-C Lens Set T2 (15, 18, 21, 25, 29, 35, 40, 50, 75, 100, & 135mm) Leica Thalia Full Prime Lens Set (24, 30, 35, 45, 55, 70, 100, 120, & 180mm) Canon Cinema Prime EF Lens Set (14, 24, 35, 50, 85, & 135mm) Zeiss CP.3 Compact Prime Lens Set (15, 18, 21, 25, 28, 35, 50, 85, 100, & 135mm) GL Optics Leica R Lens Set PL (19, 28, 35, 50, 80, & 135mm) Zeiss Compact Prime 18mm CP.2 Lens (choose PL or EF mount) Zeiss 35mm CP.2 Super Speed Lens (choose PL or EF mount) Zeiss 50mm CP.2 Super Speed Lens (choose PL or EF mount) Zeiss 85mm CP.2 Super Speed Lens (choose PL or EF mount) Nikkor 400mm T2.8 PL Lens Nikkor 200mm T2.0 PL Lens LEICA R 21mm F4.0 EF Mount Lens Tokina 100mm Macro T2.9 Lens Canon 16-35mm EF Zoom Lens Canon 24-105mm EF Zoom Lens Canon 70-200mm EF Zoom Lens F2.8 Canon 28-300mm EF F3.5-5.6 Zoom Lens Canon 17-40mm EF F4 Zoom Lens Sony 18-105mm F4 E-Mount Zoom Lens Sony FE 16-35mm E-Mount Zoom Lens Phase One Schneider Lens (35, 55, 80, 110, 120, & 150mm Lenses) Century Swing & Tilt PL Lens System (18, 24, 35, 55, 90, & 135mm)

Hi Everyone, This is my first post on Cinematography.com but here goes... I am DPing a music video where I will need to create the effect of dollying out from the inside of a doll's house in a continuous shot. The camera will start inside one of the rooms and dolly out of the window, all the way out of the house to reveal the doll's house in full, within the frame. The main catch is that the doll's house will be set on fire from the inside out, so I need a lens that can "reach" far enough inside the house and then dolly out on a slider. I was thinking of achieving this effect with the Laowa 24mm f14 probe lens as it is the only optic that I can find which will keep the slider at a fair distance from the camera and be able to fit inside the doll's house. My main concern is that I will be shooting these scenes at dusk, I am worried the lenses aperture will be too restrictive. Yet I know this lens comes with LED lights on the end, so this might help. I can shoot on either the C300 Mkii or the Canon 5D MkIV with the current options available to me. (I am aware of the crop factor on the C300 as well). Would you guys think that this lens would be the correct choice for something like this? Also, what would be your recommendation for a good motorised slider with enough length to dolly out like this? I will get the chance to test next week but wanted to ask the forum first. I was hoping that a 24mm will not need to dolly back too far to see the doll's house in full. Thanks.

I know this is probably not the right time to sell this but since I sold my Eclair this have been collecting dust. She looks a bit worn, and front element has a little nick, but last footage I saw from this still looked great. This is a R16 lens. Also included is an adapter from RAF camera to use screw in 77mm filter. (I had an anamorphic adapter on the front element before) I looked online and tried to figure out the average price and saw a lot of different prices. So it’s $450 OBO really. Buyer pays shipping.

Zeiss MKI-1 SS w/MK-3 Focus Scales T1.3 Lens Set Includes: 18/25/35/50/85mm $30K

Need to purchase a set of Cooke S4i lenses. 14 to 100mm. (metric)

Hello people, Wanted to know when you take a new project what are the main criteria's or points that you check in a lens before finalising to shoot with it? Thank you. VB

Hi guys, I've moved on to some faster glass, so selling my much loved Zeiss 21mm CP.3 (PL-mount, Imperial Markings). This was the wide-angle prime I paired with my Zeiss CZ.2 zooms, so it's seen very minimal use. The condition is superb. Glass is perfect, focus and iris rings are silky smooth. Located in Melbourne, Australia, but happy to ship worldwide. $3,390 USD / €3,099 EUR / $5,075 AUD + shipping

For Sale : Zeiss Super 16 Lenses MK2 $11,000.00 9.5, 12, 16, 25 & 50mm.

For Sale : Optex 5.5mm Super 16 Lens. $3,850.00

For Sale : Canon Cine-Servo 17-120 mm T2.95, Pl & EF Mount, Case. $18,500.00.

I've been deep diving into the world of DIY Anamorphic lenses and now I can share some of my experiences. Recently, I modified an old anamorphic projection lens so I could use it on set. My website has a full version of this post as well as a PDF, but I wanted to share it here in its entirety for discussion. http://ajyoungdp.com/articles/blog/BH16/ The Bell & Howell Anamorphic Lens (BH16-2) is an old projection lens originally meant for projecting and de-squeezing 16mm film. Cinematographers can easily modify and adapt this lens for practical use on set with minimal additional parts. The following guide gives close to a step-by-step tutorial on how to modify the BH16-2 for practical use in cinematography and photography. However, there are some steps that won’t be explained, such as how to grease a helicoid, use a spanner wrench, or align an anamorphic lens. Acknowledgements Tito Ferradens for his saint like work on DIY Anamorphic Chris Bold for paving the way of trial and error Richard Gale for shining a light when we needed it Key Concepts Before beginning the modification, the BH16-2 has a key concept about its original design. A built in variable diopter makes the BH16-2 an easy and affordable lens to modify in comparison to other projection lenses. Variable diopters are a clever and simple way to circumvent the double focus anamorphic lenses require. An anamorphic lens contains an anamorphoser and a spherical lens. The anamorphoser compresses/squeezes the image horizontally; additionally, it controls the horizontal focus of the image. The spherical lens controls the vertical focus of the image and aperture (not present on fully built projection lenses). These two lenses are focused at the same time mechanically in high end anamorphic lenses, called single focus. When building a DIY anamorphic lens, cinematographers typically use the anamorphoser from a fully built anamorphic projection lens and clamp it together with a different spherical lens. Both the anamorphoser and spherical lens, however, will need to be focused at the same time, called double focus. These fully built DIY anamorphic lenses lack any mechanics for controlling both focuses at the same time, so cinematographers have to manually pull focus on both parts by hand. Variable diopters, on the other hand, take advantage of optics to control the focus of the two parts. In photography/cinematography, diopters are filters that decrease the maximum focus distance of the lens, allowing the user to focus closer than the lens originally can. Diopters are often used in macro photography, but have a prominent application in anamorphic cinematography. A diopter can have a positive or negative optical power. When diopters of different powers are combined together, they can increase or decrease in power. A variable diopter uses a combination of two diopters that, when close together, equal a small power, but grow in power as they seperate. The larger the power of the diopter, the closer the maximum focus. Setting both the anamorphoser and spherical lens to infinity guarantees they are focused to the same point. Then, attaching and using a variable diopter can move that infinity point while keeping both lenses focused on the same point. A variable diopter makes the fully built anamorphic lens a single focus lens. This is what the three main parts of the DIY anamorphic lens looks like: All three of these items are clamped/built together to create a DIY anamorphic lens. The original BH16-2 is exactly like this, a variable diopter built onto the anamorphoser that is screwed onto the spherical lens: The downside of the original anamorphic lens is that the variable diopter requires numerous full rotations to pull focus from infinity to a close focus. Most lenses for cinematography rarely reach a full rotation from infinity to close focus. Additionally, the original spherical lens has no aperture and is near impossible to mount to any camera. This modification fixes the over rotation, corrects infinity, gives a better close focus, and allows for attaching various different spherical lenses. How to Modify the BH16-2 From left to right are the three main parts of the original BH16-2: Spherical Lens, Series 7 Adapter Ring, and the anamorphoser with built in variable diopter. For this mod, we will: Replace the spherical lens with one of our own Convert the adapter ring to our new spherical lens Replace the variable diopter helicoid with a new helicoid Parts & Tools You will need the following parts: BH16-2 with original Adapter Ring Nikkor 85mm AIS F2 Lens 58mm to Series 7 Step Up Ring 58mm Circular Polarizer Rubber Gasket about 54mm big with an interior diameter slightly smaller than 45.95mm These are approximations. When in doubt, use bring the removed variable and helicoid with you to find the right size gasket. [Alternative to Rubber Gasket] 3D Printed Diopter Holder 58mm to 58mm Helicoid Focusing Ring 17-31mm Vid Atlantic Lens Clamp, 77mm Appropriate step-up/down rings from 77mm to the 58mm Helicoid Focusing Ring 1/4 inch 20 lens support point from a Rapido FMJ Appropriate bolt size to mount this support to the Vid Atlantic Lens Clamp PVC Tape You will need the following tools: Flat Head Screwdriver Lens Spanner Wrench Rubber Gloves Cotton or cotton like gloves Hex Keys Knife or Dremel Tool 1 - Replace the Spherical Lens This is the easiest step. The original spherical lens has no aperture control, projects a small image circle, and is near impossible to mount to a camera. Instead, we’ll use a photography lens that can do everything the original spherical lens can not . For this project, we’ll use the vintage Nikkor 85mm AIS F2: The Nikkor 85mm AIS F2 is a reasonably priced lens that delivers sharp, neutral looking pictures. It doesn’t have the clinical feel of modern lenses, but still maintains the sharpness for even the largest of screens. Of course, you’re not limited to this focal length, maximum aperture, or lens. The BH16-2 is a narrow lens to begin with, so anything wider than an 85mm vignettes on a S35 sensor. However, tighter lenses like a 105mm or 135mm work well with this anamorphoser. 2 - Convert the Adapter Ring The adapter ring that comes with the original lens has a specific thread on the inside that screws to the anamorphoser. The thread on the rear of the anamorphoser isn’t an industry standard thread and requires the original adapter ring if a cinematographer wishes to use step-up rings to attach the new spherical lens. If you do not have the adapter ring, then you’ll have to use another lens clamp to attach the spherical lens to the anamorphoser. This guide will focus on using the original adapter ring. The rear exterior threading of the adapter ring is Series 7. In the above photo, a 58mm to Series 7 Step-Up Ring is screwed snugly onto the adapter ring. Additionally, the adapter ring is then screwed back onto the anamorphoser. In Section 3 of this guide, the anamorphoser will be modified to stay locked in alignment via 15mm rod support. Currently, the adapter ring with the step-up ring attached will make it impossible to correctly mount the spherical lens to the camera because there is no ability for the lens to rotate. To fix this issue, a modified circular polarizer (CPL) will be attached. Using a spanner wrench, remove the polarizer glass from the CPL. Screw this empty CPL to the modified adapter ring. Now you can mount the spherical lens to the anamorphoser and still rotate the spherical lens into the camera mount. 3 - Replace Variable Diopter Helicoid The next, and most complicated step is to replace the variable diopter helicoid (VDH). Two flat head screws prevent the original VDH from being completely screwed off. Remove these two screws: Once the screws are removed, twist off the original VDH completely: The original VDH only contains one of the diopter elements, the other is built onto the anamorphoser. Our mod will remove the diopter in the original VDH and place it into the new VDH. Using a spanner wrench, unscrew the ring that holds the diopter in the original VDH. This ring will be tough to unscrew and will require considerable amount of force. It’s best to lock the spanner wrench and use rubber gloves to grip the VDH. Other cinematographers have tried lightly tapping the exterior of the VDH to help loosen the ring. There is no glue in the rings of the VDH. Once the ring is removed, push out the diopter with your finger. (It’s recommended to use cotton or cotton like gloves to avoid smudges and scratches) Above are the three removed items: the original helicoid, the ring that held the diopter, and the diopter itself. Next, we will place the diopter into the new helicoid. The helicoid that works best with the BH16-2 is an M58 to M58 Focusing Helicoid Ring 17-31mm. This specific size perfectly fits over the anamorphoser. Most of these new helicoids are too stiff from the factory. The best practice is to re-grease the helicoid before installing the diopter. Next, the diopter will be inserted into the helicoid. A rubber gasket will hold the diopter in place within the helicoid. [Alternatively, a 3D Printed Diopter Holder can be used] This particular rubber gasket has an interior diameter that is too small, so a knife or Dremel tool was used to widen the diameter. The diameter should just smaller than the diopter itself because the rubber will stretch around it and hold the diopter snugly in place. Before installing the diopter in the gasket, install the gasket into the helicoid by pushing it in: Once the gasket is pushed into place, push the diopter into place: Above are the front and back of the new VDH with the diopter held by the rubber gasket. Next is installing the new VDH securely to the anamorphoser. The sturdiest solution is to use a clamp like one of the Vid Atlantic anamorphic clamps. The particular clamp used in this guide has a front 82mm thread and a rear 77mm thread. Once the lens is complete, it will be too heavy for the camera mount and adapter ring. The clamp will also become the lens support point. The female 1/4 20 support point from a Rapido FMJ was used for this clamp mod. Additionally, step up rings were attached to the front 82mm thread. Once the step up rings are attached, the new VDH is screwed into place on the lamps clamp. Finally, the new VDH will be clamped to the anamorphoser. Before attaching the new VDH, use PVC Tape to cover the anamorphoser. The tape only needs to cover where the bolts of the clamp will touch. Doing this protects the anamorphoser and gives extra grip for the bolts of the clamp. Once taped, attach the VDH! Screw the anamorphoser + new VDH to the spherical lens. The newly modified lens is nearly complete, but the anamorphoser needs to be aligned. Attach the lens to a camera, then attach the rod support, and finally align the anamorphoser by loosening the VDH clamp and rotating the anamorphoser until alignment is correct. Once it is, lock everything down. It’s important to use rod support with the mod because the various step-up rings and the spherical lens are too weak to hold the weight of the anamorphoser and variable diopter. It also locks the alignment of the anamorphoser and spherical lens. The added stability of the lens support is a requirement for the BH16-2 to be practically used on set. The final step is to set the spherical lens to infinity and the lens is ready to shoot! A Few Notes Infinity on the spherical lens largely depends on how accurate the focal flange distance is of the camera mount. In most cases, the infinity markings on the spherical lens won’t be the infinity you set the lens to. The best way is to mess with the focus of the spherical lens and variable diopter until they line up. Once they do, you’ll only need to pull focus with the variable diopter. The anamorphoser is already set to infinity. However, these lenses are old and it may have been dislodged over time. This guide doesn’t address how to fix the anamorphoser and it is recommended to seek professional services for the anamorphoser. The diopter element within the rubber gasket will need some adjustments. Collimation is the accurate alignment of optical elements and the diopter will most likely be aligned incorrectly once it is installed. The easiest solution is to adjust the diopter element within the rubber gasket until sharpness is even across the image. Additional Resources Chris Bold’s Journey - https://www.eoshd.com/comments/topic/8996-seeking-info-about-the-bh-projection-lens/ QuickHitRecord’s Journey - https://www.eoshd.com/comments/topic/6411-bell-howell-16mm-anamorphic-lens/ Tito Ferradans - https://www.tferradans.com/ Anamorphoser measurements by Chris Bold:

Please email sales@broadcastsolutions.com for pricing and details. Canon EF Lenses (14mm-24mm-35mm-50mm-85mm-135mm) L Series / USM II Optex 5.5mm Super 16 Lens Zeiss Super 16 Lenses (9.5mm-12mm-16mm-25mm-50mm) MK 2 Zeiss Super 16 Zoom Lens 11-110mm Zeiss Variable Primes VP1-VP2-VP3 ARRI Alexa Classic Camera with Accessories (Fully checked at ARRI Munich)

SOLD For Sale : Canon K35 Lens Set. 18 T1.5, 24 T1.3, 35 T1.3, 55 T1.3 & 85mm T1.3. Original Housing. PL Mount. Imperial. Contact sales@broadcastsolutions.com for pricing and details.

For Sale : Fujinon 14-35mm Cabrio T2.9 Lens PL Mount. Excellent Condition. Includes Servo Zoom & Lens Shade. Price $21,000.00.

Hi, I´m selling my set of Sony Cine Alta lenses, consists of: 20mm T2.0 25mm T2.0 35mm T2.0 50mm T2.0 85mm T2.0 135mm T2.0 All lenses are in mint condition, 100% Some of them was used only 2-3 times. + you will get PELI case for free. Lenses are located in Bratislava, Slovakia PRICE: 7200 € ex VAT (and shipping costs), 8450 € incl.VAT