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Found 289 results

  1. 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
  2. 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
  3. Selling a film directors lens/camera collection. If pictures are not listed, please inquire per e-mail/message. All lenses are under market value and in working condition. Location is Berlin, Germany. Worldwide shipping possible. Lomo OKS 1-50-1 f:2,0 50mm (OCT-18 to Arri PL) - Pictures - 200,00€ Lomo OKS 1-35-1 f:2,0 35mm (OCT-18 to Arri PL) - Pictures - 150,00€ NPO Ekran/Lomo OKS 15-35-1 Superspeed 35mm (reduced price due to minor fungus, can be cleaned on request) - 1500,00€ Lomo OKS 8-35-1 f:2,0 35mm (OCT-19) - 200,00€ omo OKS 8-35-1 f:2,0 35mm (No Mount) - 200,00€ Lomo OKS 1-50-6 f:2,0 50mm (OCT-19) - 500,00€ Lomo OKS 1-75-1 f:2,0 (OCT-19) - 300,00€ Lomo OKS 9-500-1 500mm (OCT-19) - 800,00€ Rolleiflex 6006 (lenses bellow) - Pictures - 300,00€ Reolleiflex SLX with Plannar 2,8 80mm (can buy with different lens/without) - Pictures 400,00€ Rollei HFT Distagon lens 4,0 50mm - Pictures 100,00€ Rollei HFT Sonnar 4,0 50mm - Pictures 100,00€ Pentacon 4/300 300mm - 100,00€ Feel free to ask questions. E-Mail: askaryanohan@gmail.com
  4. For Sale : Zeiss Super 16 Lenses MK2 $11,000.00 9.5, 12, 16, 25 & 50mm.
  5. For Sale : Optex 5.5mm Super 16 Lens. $3,850.00
  6. For Sale : Canon Cine-Servo 17-120 mm T2.95, Pl & EF Mount, Case. $18,500.00.
  7. 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. WEBSITE LINK 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 Rich 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 Rich Bold:
  8. 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)
  9. 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.
  10. For Sale : Fujinon 14-35mm Cabrio T2.9 Lens PL Mount. Excellent Condition. Includes Servo Zoom & Lens Shade. Price $21,000.00.
  11. 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
  12. I've been mulling what it would take to make a lens from scratch, particularly a projector lens. With proper machining equipment, I believe I could construct every part of the lens except the actual glass elements themselves. As far as designing the optics, instead of ordering custom glass elements, I could take advantage of the low cost of mass produced elements from companies like Edmund Optics. However, I'm wondering just what kind of tolerances in the glass thickness would be acceptable. For example, in an old episode of "How It's Made", they show the construction of a Canon EF 500mm F4 L IS USM lens, a $9000 lens, and they mention that the glass elements have a tolerance of +/- 0.001mm. That kind of a lens has far more precision than I would need. The cheapest elements from Edmund Optics however have a tolerance of +/- 0.1mm., something I would guess is way too low, but I'm not sure. This is for projecting Super16 film in a modified projector. Really, I don't think I would need better precision than what you would find in a $100 DSLR kit lens. My question is: What kinds of tolerances would be acceptable, and/or what kind of precision is used in mass produced kit lenses.
  13. For Sale : Cooke S5/i Lens Set . 18, 25, 32, 40, 50, 65, 75 & 100mm Email sales@broadcastsolutions.com for pricing and details.
  14. Set includes: 9.5/12/16/25/50mm Price : $13,500.00 Lenses Have Been Fully Refurbished. New Case Questions : email sales@broadcastsolutions.com
  15. Includes: 6/8/9.5/12/14/35/50mm Arri Certified With Warranty. $45,500.00 Questions : email sales@broadcastsolutions.com
  16. Please send pricing & details to sales@broadcastsolutions.com
  17. Set Includes: 18,25,32,40,50,65,75,100,135mm Excellent Condition Selling Price : $45,000.00 Pics Upon Request
  18. Looking for Zeiss Master Anamorphic 35 & 50mm Lenses. Please email sales@broadcastsolutions.com with details.
  19. Hi All, I'm a new member but have been reading this forum for years. I'm a 25 year old budding cinematographer from South Africa. After fulfilling AC & operator roles across the spectrum for the past years, I've recently had the privilege to land work as a cinematographer and/or director on large release Music Videos & commercials. Basically I want to improve my personal rig to shoot more narrative passion projects. I have a great Contax Zeiss set but it has one problem. When shooting S35 format, the lenses wider than a 35mm don't perform well enough in terms of speed & range. They suit the full frame format well, but I feel I can do better for my personal, passion project rig comprising of a fuji X-t2. After doing a bit of research, I realised that a new Canon FD set might be right for me. I know they're also full frame lenses, but spec wise, they do perform better than the Contax Zeiss's on the wider side of things. I love the look of the K35 lenses and apparently the FD's might be something similar? I'm thinking of starting with the set of 20mm f2.8 24mm f2, 35mm f2, & 50mm f1.2L. In a nutshell, what's your take on using the FD lenses for narrative filmmaking and does anyone have advice on which ones to buy?
  20. For Sale : Zeiss S16 Super Speed MKII Lens Set Set includes: 9.5/12/16/25/50mm Lenses Have Been Fully Refurbished. New Case Please email sale@broadcastsolutions.com for pricing and details.
  21. For sale this 19.5-95 zoom lens with not one single blemish or scratch on the body and some minor imperceptible rubs on front element. This lens just came from Angenieux where it got overhauled to their absolute specs. Save $15k+ from new. In LA, covers Arri's Open Gate. Comes with Heden bracket, case and 3 different size posts for lens support. Some important points; Zoom Ratio: 4.7X Focal Length: 19.5 - 94 mm Aperture f/2.4 – T2.6 Close Focus: 2 ft - 0.5 in – 0.62 m Internal Focus: Yes Image Coverage: S35+: 31.4 mm diagonal Weight (approx.): 12.3 lbs – 5.6 kg Length: 335 mm (PL) 330 mm (Panavision) Front Diameter: 136 mm Price $36,500.00 More pictures available upon request
  22. For Sale : Cooke 65mm Macro Anamorphic/i Lens W/ Case. $26,000.00 Email sales@broadcastsolutions.com
  23. Hi all: I recently acquired the DeVry 16mm camera (which I'm told is less common than the 35mm version). It is missing the lens and the hand crank. Not sure which mount this camera has. I haven't been able to locate a crank for this camera. Any suggestions?
  24. For Sale : Canon 17-120mm Cine Servo T2.95 Zoom Lens PL Mount Email sales@broadcastsolutions.com for pricing and details.
  25. Cooke Mini S4/i Lens Set 18,25,32,50,75,&100mm (Feet) Zeiss B Speed T 1.4 (PL Mount) Lens Set GL Optics Leica-R (PL Mount) Lens Set re-housed Alexa Mini Package (without licenses) Kowa Anamorphic Lens Set
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