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Not exactly cinema level gear but I figured I would list here anyways. Selling a set of EF Leica R lenses I've had for a few years and never use anymore. They're great little lenses (sharp but still have character/creamy out of focus areas) but things are all PL these days. All Duclos modded and matched, declicked, ect. All are EF mount so great for any doc red/alexa shooters who want something small and simple. 77mm front threads so they work with photo filters. (I've got promist 1/4, soft fx 2, lowcon, variable ND, Pola I'd be willing to part with as well) Set includes a 19mm 2.8, 24mm 2.8, 35mm 2, 50mm 2 See the ebay listing below https://www.ebay.com/itm/LEICA-R-lens-set-EOS-DUCLOS-cine-mod-Late-Serials-19mm-24mm-35mm-50mm/332518855882 It's hard to find pricing info on a set this small but cost is based on the cost to rebuild the set. Open to negotiating of course.

Hello Sorry if it's a silly question but i'm new to all that ... These lenses from this RENTAL STORE are made for 35mm Film cameras ... right ?? (ARRI Master Prime , ZEISS T 1,3 , ZEISS T 2.1, Cooke S4, Cooke Zoom 20-100mm, Ultra Prime) And also are compatible with Cine PL digital cameras like ALEXA, RED, Canon EOS C300PL etc ... Right ?? But according to this chart ... If I want to use a 18mm lens in the way Kubrick it .. it's impossible with the Digital cameras .. Right ?? And the CLOSEST to that is Canon C300 with 99% !! Right ?? So the Canon C300 is better on that point than the high end ALEXA and AMIRA ?!?! And what is the solution to achieve an 100% result ??? Thank you !!

Good Soviet Lenses. OPF15 - rare enough, but not perfect. $ 2100 OPF-7-1 is good, $ 2300 if just two - the discount. I can send.

Proceeds from Sales of Sculptures & Assemblages to Benefit City of Hope Writer-director Matt Reeves (War for the Planet of the Apes, Dawn of the Planet of the Apes, Cloverfield), Oscar®-nominated cinematographer Jeff Cronenweth, ASC (The Girl with the Dragon Tattoo, The Social Network), and cinematographer Ernie Holzman, ASC (Without a Trace, Cora Unashamed, Thirtysomething) present “Ernie Holzman: Life ReFocused,” an art show celebrating film cameras and lenses from the 20th century. The event takes place on November 12, from 4 – 7 p.m. at RED Studios Hollywood, where assemblages and sculptures created by Holzman will be for sale, as well as a rare print of the iconic set of Alfred Hitchcock's "Rear Window.” All proceeds benefit cancer research at City of Hope. After being diagnosed with Stage IV non-Hodgkin’s lymphoma in 2011, Holzman underwent surgery and two rounds of chemotherapy. Unable to work, a good friend gifted Holzman with a collection of vintage filmmaking equipment. The cinematographer deconstructed every camera and lens, and was ultimately inspired by the aesthetic beauty and elegance of the equipment, which had been commonplace in his career, to create art. By selling the pieces he has designed, Holzman wants to “pay it forward” and acknowledge the life-saving work of Dr. Barry Rosenbloom at Tower Oncology. Holzman told American Cinematographer magazine, “The opportunity to create art, and ultimately have this showing, has not only been enormously healing for me, but has given my life greater meaning than I have ever known.” City of Hope is a world leader in the research and treatment of cancer, diabetes, and other serious diseases. They deliver scientific miracles that make lives whole again. Founded in 1913, City of Hope is one of only 49 comprehensive cancer centers in the nation, as designated by the National Cancer Institute. The event is open to the public. RED Studios Hollywood is located at 864 N. Cahuenga Blvd, Los Angeles, 90038. No RSVP is necessary to attend.

What dependable companies or individuals can you suggest for lens services? I want to have a set of 70s/80s Canon FDs cleaned and serviced (slight dust, fungus, haze). Additionally I'd like to remove the lens coatings. They will ultimately be rehoused so mounts/seatings are not of concern. The entire kit may include: FD 14mm f/2.8L FD 20mm f/2.8 SSC FD 24mm f/1.4L FD 35mm f2 SSC ii FD 55mm f/1.2 ssc ASPHERICAL FD 85mm f/1.2 L ASPHERICAL I'm based in the states (midwest) but am talking with GL Optics/Nan to rehouse them. So could be open to someone near him in China.

I'm looking to buy a single 18mm Zeiss Super Speed outside of a set. Mk II or III preferred.

Hi everybody, I'm in the process of investing some money into glass as part of a rental division of my company. The question is what lenses I should invest in? Kowas and K35s seem to be good vintage options but they're hard to find, some people have suggested zooms such as the Angenieux or the Fujinon Premiers (because you don't need to get a full set). I was wondering if anybody here has had some experience with this, has some suggestions? It's really appreciated, thanks! Fabien

Hey guys! Please check out The Ultimate Anamorphic Lens Test where we tested 13 brands, 40 lenses and created over 500 tests and 130 4K videos. You can compare them all in our 4x side-by-side viewer here. Brands tested include: Angenieux Optimo 44-440mm T4.5 AS-2 Anamorphic Zoom ARRI / Zeiss Master Anamorphic Atlas Lens Co. Orion Series Anamorphic 65mm T2.0 Cineovision Anamorphic Cooke Anamorphic /i Special Flare Elite Anamorphic Hawk V-Lite Vintage `74 Anamorphic Iscorama Pre-36 Anamorphic Lens Adapter Kowa Cine Prominar Anamorphic Lomo Round-Front Anamorphic Panavision Auto-Panatar Anamorphic P+S Technik 35-70mm T3.2 Cinemascope Zoom Todd AO High-Speed Anamorphic Hope you enjoy it. Please let me know if any questions!

So I had a heated discussion today about this topic with other "cinematographers". I had information thrown at me from all sides and I don't know what to believe anymore .Can somebody please clean this up for me once and for all. Ok I bought a Sigma Art 18-35mm 1.8 lens for my FS5. The lens is a APS-C so it fits well on the camera. A lot of people are using it. So the question is... Is this really giving me 18-35mm or 28.8-56mm? I was under the impression that the 1.5 crop factor only applied when you were using a full frame lens. A guy then tells me all lenses are for full frame and you have to multiple 1.5 with any lens that you put on it no matter what its for. He was really furious when explaining this to me. Who is right?

Hey guys. Check out this nice article about this full frame lens phenomenon we're seeing in 2017. If anyone was at NAB or followed it, you know how big full frame lenses have become this year. We sat down with Matt Duclos of Duclos Lenses and Mark LaFleur of Old Fast Glass to discuss what this means and where we're heading in cinema. http://blog.sharegrid.com/blog/why-full-frame-lenses-expose-the-future-of-cinema-cameras

interested in buying 35mm, 75 and 100mmm round front anamorphic lenses. prefer EUrope but any offers welcome. with any mount, clean lens. klimpar@vonkuttenberg.com or +420777174155 (imessage works as well)

Hello... Arri Master Primes lenses and Arri Alura Fujinon Zoom including all accessoires for sale! Super Price: $77,000USD Email: info@funecycle.com Here the list: Arri Alura Zoom Fujinon 18-80mm T2.6 Arri Master Primes 25mm T1.3 Arri Master Primes 35mm T1.3 Arri Master Primes 50mm T1.3 Arri Follow Focus FF5-HD for 15mm rods Short rods (12 niches) 2X Long rods (18 inches) 2X Arri Focus Lever (Speed crank) Arri 13,5" Follow Focus Whip W. Knob Arri flexible shift short (300mm) Arri LS-10 Alura 18-80 lens support MB-18 Production Matte box 3 stages filters 4 X 5,6.5 2 stages filters 4 X 5.65 4 Tiffen filtres ND .3, .9, 1.2, polarizer MB-18 shade box Set of marks 35mm Aluminium case for Arri Alura 18-80 Aluminium case for the set of 3 master primes Aluminium case for MB-18 complete kit. Here links for pictures: https://app.box.com/s/is4okbcijss0hx5xd9qa5htzixe25ued https://app.box.com/s/uc9f9nccw9r9x8e9okrupgcan6colpgl https://app.box.com/s/oeu3t9s62w28m2zejtw66t6bbsuqte8t https://app.box.com/s/9kyp03vayl7slg58t3tcugickhh4u9hm https://app.box.com/s/j52gnihc1svrle1j4plfuvzchcqhuqp7 https://app.box.com/s/k34tjil5si3q0jfwbkaex1l3gdmvr89k https://app.box.com/s/pqe2rvdr3pivlpbbrr7xjbrd9fxe1grf https://app.box.com/s/ehk5v2drogl7e3bzh6sj43pt09halxt7 https://app.box.com/s/qk13s3skb85qp8n4t00oy2ar9eekm60g

Hi guys, Selling off my set of four Rokinon Nikon-Mount lenses as I simply never use them (literally none of these lenses have been on the camera more than two or three times each). For a cheap and cheerful set of fully-manual primes, I think they do quite well. But as I'm nearly always working with Assistants, and I'm arguably far-too kind to them - my Zeiss CZ.2s stay on the camera, so these have to go! :p Looking for a quick sale, so selling for 40% off what I paid for them retail. Price is $1,245 USD / $1,665 AUD (plus GST if purchased in Australia) Located in Melbourne, but happy to ship worldwide. Cheers, Mark

Hi, I'm last year student in Cinematography school in Belgium, and I'm making a end-of-year work about extreme telephoto lenses used in Cinema. I saw a part of the movie Tinker Tailor Soldier Spy by DP Hoyte van Hoytema where they use a 2000mm to compress the foreground and the background. The result is wonderful : https://vimeo.com/152514220 So I'm looking for other movies, other shot like this one. If any DP here already used big lenses (over 500mm with 35mm sensors), I'm interested to ask them some questions. Thanks in advance, Arnaud Serexhe

Selliing MINT (only used twice) Angenieux Optimo 3D Ready Package with Two DP 16-42mm Matched Lenses w/case. These lenses are very hard to find. I paid $46K for the package - Asking $42,000 Local pickup in Los Angeles only. Please email my assistant Deb at bigdreamsdeb@gmail.com with any questions or offers. If you PM message on here, there will likely be a delay in response. Thanks! Scott Snare VIEW PICS: https://flic.kr/s/aHskJib6Xa PRODUCT HIGHLIGHTS Matched Lenses from Same Production Run For Stereoscopic 3D Productions For Cameras w/ Large Single Sensors PL Mounts Custom Padded Pelican Carry Case The Angenieux Optimo 3D Ready Package with Two DP 16-42mm Lenses takes a lot of the headache out of stereoscopic 3D production by pairing two factory-matched, high-quality lenses. For shooting S3D with a beam-splitter or side-by-side stereo rig, matched lenses are absolutely crucial. These two Optimo DP 16-42mm lenses are from the same production run – a key consideration when you're trying to find twins of a device as mechanically sensitive as a lens. (Choosing matched zooms over two sets of primes is also a good way to ease setups for stereoscopic productions.) The two super-fast lenses have matching focus scales – focus rings are perfectly calibrated – and zoom ranges, and tracking is easily adjustable. Their zoom range of 16-42mm is appropriate for most stereo-friendly shooting, which favors wide shots over close-ups. The kit comes in a custom Pelican case with padding cut specifically for the included items: The two lenses, shim kits, two screwdrivers, two lens support brackets, and two focus sticks. Note: The lenses do not fit on cameras with optical viewfinders. PL mounts Optical design optimized for large-format, single-sensor digital cinema cameras: 32mm diagonal image area covers entire active pixel area of an S35/5K sensor Super-fast aperture of T2.8 (f/2.6), with no ramping 320º focus rotation with over 20 precise focus witness marks and no breathing Calibrated focus marks in feet or meters Angenieux 16-42mm Focal Length 16mm-42mm Max Aperture T2.8 Mount PL Image Circle 31.4mm Min. Focus 24" Front Dia. 114mm Weight 4.2 lb.

This came off a Nikon from the late 50s. Can't figure out. Anyone know? Any guesses?

I'm looking to buy these lenses. They all must be scratch free glass. - Dallmeyer Super-Six Anastigmat 51mm, 57mm, 63mm, 76mm & 82mm f1.9 - Hugo Meyer Plasmat 90mm f1.5 or 125mm f 2 - Cooke Anastigmat Technicolor 50mm f1.7 - Pinkham Smith series VII 2 inch f3 Please contact me here or at asafdie@gmail.com Thanks so much! Best, Alex

I have some Super Baltars:::: 25mm f2, 2 inch 50mm f2, 3 inch 75mm f2 They are all in Mitchell R-35 mount. All the glass is in great condition. No haze and no scratches. Only the 25m 2 inch has a couple faint cleaning marks on the rear element. Mechanics are good with both the focus and iris. Let me know if you have any questions. Pics here $15900

Hi, I'm currently in pre-production on a "kitchen-sink" social realism drama and I'm looking at films like 'Fish Tank' and 'This is England' as visual references for the look of this film. I want to use the flat and dry colour palettes used in these films to create a similar mood and atmosphere for my film. Eventhough my influences are from an 80's style, this is a creative choice for a film with a contemporary story. I will be testing the Sony F55 and the Blackmagic distagon lenses next week to see if this would be a possible substitute for shooting 16mm film as this would be too expensive. I've been told that this would change my depth of field and that I'll be shooting with a 2x crop. The majority of this short film will be shot ecu - mids with occasional wides as it's quite a close and intimate story. I'm just wondering if anyone has any suggestions or advice in regards to my approach? Here are a few visual references. Fish Tank: http://66.media.tumblr.com/f87e91f7a39493982b2c3d601ca6b463/tumblr_mn65qzTtXA1s6aghro1_1280.jpg https://cinenthusiast.files.wordpress.com/2011/02/fishtank.jpg This is England: http://vignette3.wikia.nocookie.net/thisisenglandpedia/images/6/68/Article-1285850004888-0b6ab43e000005dc-948583_636x361.jpg/revision/latest?cb=20150928011720 http://esquireuk.cdnds.net/15/37/980x490/980x490-this-is-england-90-finale-43-jpg-6b3a7d05.jpg (Sorry for the links - this has been sent by mobile) Thanks and any help is much appeciated! Matt

Hi Guys, I'm fairly new in cinematography and have my first budget short film to make in January. The director has asked me he would like it shot looking a bit like Christopher Doyle in 'In The Mood For Love' and Tarkovsky's Solaris. I'm going to buy an expensive prime lens and am struggling to see anywhere online which lenses seem to match these films. If anyone could help that would be great! here's links to the films: https://www.youtube.com/watch?v=6qqdeSIm0I8 Many Thanks! Casey

We are selling our personal sets of LOMO Anamorphic Lenses 35,50,75,100,150 LOMO Anamorphic Round Front, just fully serviced by Focus Optics Burbank $56,000 50 & 75 LOMO Anamorphic Round Front, just fully serviced by Focus Optics Burbank $18,000 for the pair email me carson.lori61@gmail.com

hei guys, I’m finally about to buy a BM pocket camera. The fact it shoots RAW or anyway 10bit ProRes for lower than 1000 euros is appealing me big time. Yet I’m still esitating cause of some few missing features such as the lack of slow motion (beside the battery issue) - anyway I just wanna ask you some suggestion about lenses, as I'm thinking on which lenses to buy along with the camera. at the moment I’m seriously considering this series: https://www.bhphotovideo.com/c/product/1181997-REG/rokinon_super_35_cine_ds.html I used them on a Sony F5 and I liked them all, not entry level, yet not real cine lens, but it's a really good price, and I’d save on the adaptor: which lenses you guys use on your Blackmagic Pocket (or the GH4 for instance)? thank you :) Stefano

Hi, I've been assigned to shoot and direct and documentary in Nepal in two months time and I'm looking to gear up for the shoot. The project is a low budget / indie documentary for which I thought to get the Sony A7s ii for the job for its low light conditions as most likely I'd use very little available lights. I own a Blackmagic 4K ef mount which I plan to sell as I find it to bulky and heavy for the job and not great on low light. I am currently looking for lenses, and understanding more about the different type of glass. I'm looking for recommendations I want to achieve a filmic / cinematic look, nice aesthetics, soft nice skin tone and color rendition rather than sharp HD video and I have a very little budget to cover the whole rig. I even thought of old film slr lenses to give me a softer look but I am scared of vignetting of which would be best to go for. The documentary will be 30 mins highly visual, poetic biopic rather than talking heads, so any help on the choice of lense would be great . I currently own Nikon prime DX 50, 85 mm 1.4 lenses but don't think they're good enough or if it'd vignet. I'm not super technical so any advice on this would really help, many thanks.

Hey there! I'm sorry if this is too many questions at once, but I figured it would be better to just lay my initial questions all out at once instead of peppering them throughout the thread over time. I graduated from college this May with an English degree and a minor in Communications, and I want to go to film school as a graduate student. In order to do this, I need a short film (I'd really like to go to USC). However, my university didn't/doesn't exactly have a cutting-edge film program, so I'm a little flustered. Here's a bit of background about my short film project. It concerns a young woman going to a bar in the early hours of her 21st birthday (it's like 12:08 AM) and ordering her first-ever drink. It's going to be shot without dialog--it will be all body language and sound effects, like a Pixar short, if that makes sense. I want the look of the film to be "objective" (I know that's not a real thing in film) except for a couple of wide-angle shots and a deep focus shot which pulls back over the bar to establish that she's in a bar (if there's a way to do this without deep focus, let me know). I'd also like to do something like this shot from The Music Man (https://youtu.be/CC33O52pGUg?t=2m43s). I don't know how they did it, but I suppose you can cheat it in post if you're a good/patient enough rotoscoper. Anyway, I was looking into what kind of camera I should use to film this project. I've saved up a bit of money and I want to get the best camera possible for the job without requiring me to learn a textbook-worth of information or have tons of hands-on time with the camera before I use it. Since I'll be filming in a real bar (sadly, I haven't saved up enough money to build one from scratch on a soundstage) at night, there will be low light and the possibility of competing color temperatures (since I can't exactly tear out any lights). I'd also prefer to go for as filmic a look as possible. I would shoot the project on film if I could, but I super-don't know enough about film to do that. For this reason, I was looking at either the RED camera or the ARRI Alexa XT. After reading about the RED, I came away with the impression that it was a very particular camera that had kind of a steep learning curve, and that the ARRI Alexa XT would be much easier to shoot with, although I don't know if it's easy enough. My experience has mainly been with that one miniDV Canon SD prosumer camera that everyone had. I also would like to shoot Open Gate ARRIRAW for the project to maximize the pixel count for upscaling to 4K. Since I live near Atlanta, I'm looking at renting from here: http://pce-atlanta.com/. Here is their list of cameras and lenses (PDF): http://www.pce-atlanta.com/pdf/Camera%20Catalog_4_8_2013.pdf. I'm going to be renting the camera and lenses for a weekend. So my first question is: how feasible is this? Especially as I've never used the Alexa before and I'm not an experienced color corrector. Can you just drop ARRIRAW footage into the free version of Da Vinci Resolve or Adobe SpeedGrade and get good results just by messing with a few presets, or is it going to be a month of tedious work? Because I don't have the time to devote every day to it, especially as I'll also be doing foley work. My second question is this: ARRIRAW is flat footage, correct? So how do you know how the colors are going to look when using the monitor? My third question is: how much is that Codex docking station that plugs into the USB 3.0 connection on a MacBook Pro? I've been unable to get a straight answer from their website. And do I need to buy a software license to transfer the ARRIRAW files to a hard drive using it? My fourth question is this: what kinds of lenses should I use? I was thinking of just getting a zoom lens, since that would be cheaper, but would I be able to pull off that deep-focus shot with it? And ARRI's website tells me that shooting in Open Gate ARRIRAW can be a problem because a lot of lenses don't fully cover the sensor area. Do any of the lenses on that list qualify? I'd rather not abandon the Open Gate part of my plan, but I'd sooner abandon it than abandon the Alexa XT (although if I weren't shooting in Open Gate ARRIRAW I guess I could switch to an Alexa with the XT module), so if I have to, I will. My fifth question is: do I need to get a new tripod? I mainly have the kind which you can use for still camera work or for that relatively light Canon prosumer camera I mentioned. Is the Alexa XT a heavy camera? My sixth question is: lighting. I don't understand it. I have a lot of questions about it. I'm considering just using the available light for this reason. For instance, I understand the three-point lighting method (or I think I do, anyway) and I understand how it's easy to do in close-up, but what happens when you cut to a long shot from a different angle, exposing where the lighting rigs would be? My seventh question is: how do I keep it from looking like TV? Let me elaborate on that. I initially thought that aspect ratio played a part in making TV look like TV, but Better Call Saul looks like a movie to me, and Witness for the Prosecution, mistakenly presented in 16:9, looked like a movie as well--not like TV. So my theory is that it has something to do with coverage and composition (and maybe editing and lighting, too). I want my short film to look like a film. What are some common pitfalls I should avoid if I don't want my film to be mundane? I think that's it for now. If you guys could do me a favor and keep checking this thread, I'm sure I'll have more questions. Thank you so much for your time. Also, please let me know if in the future I should make separate topics for questions with separate subject matter. I just didn't want to clutter up your forums.

I'm focus pulling on a short film this week. We are shooting on the Alexa Mini with 2x Kowa Anamorphic lenses. I've worked with anamorphic on a fair few jobs in the past, however I haven't always had the luxury of a prep day. On this short film I have an evening of prep before principle photography begins. I was wondering if I could get some advice on the kind of things I should prep/look out for when shooting on vintage anamorphics? I'll do the obvious and check the accuracy of focal distances to start with. As far as i'm aware each lens will cast a slightly different colour tint onto the image, how can I test this and compensate during shooting? We are also going to be using diopters for a few close-up shots in the short film. Any advice on pulling with diopters in front of the lens? Is there an algorithm that can be used to figure out focal distances for different diopter levels? Or is it recommended that I just rely on a monitor for these shots?