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Cineovision Super Speed Spherical Prime Lens Set Price : 47K USD. link : https://broadcastsolutions.com/product/cineovision-super-speed-spherical-prime-lens-set/ Lenses are PL Mount Full Frame coverage. Set Includes: Cineovision 18mm T2.8 Cineovision 24mm T1.6 Cineovision 35mm T1.6 Cineovision 50mm T1.6 Cineovision 85mm T1.6 OPTICALLY – glass is clean. no haze, no fungus. There are some light cleaning marks typical with the age of the glass. There are no issues that will effect image quality. MECHANICALLY – Like new. Focus and iris are smooth. No image shift. COSMETICALLY – Like New

Hi all, I thought you might like to know all about the new and VERY rare LEITZ PRIMES from Leica/Leitz! They're spherical cine lenses and produce incredible, vintage-like rainbow flares. Leitz claim the Leitz Primes are ‘the best of the best’. As Shift 4 are the only UK rental company stocking this state-of-the-art lens set, they invited some of the UK’s most talented Cinematographers, DoPs, Focus Pullers and Camera Operators to a lens test and also shot a short film to investigate the Leitz claim. Then they wrote an article all about them. Read the full article here - it includes downloadable 6K RAW files, which I thought you might be interested in so you can make your own assessment on them! Suitable for high-end productions, you may have already seen the Leitz Primes in action. Seamus McGarvey BSC ASC ISC shot Cyrano (2021), awarding him a nomination at the BSC Awards for Best Cinematography in a Theatrical Feature; Balazs Bolygo BSC HSC used them on the Netflix series Anatomy of a Scandal (2022) and Tony Miller BSC shot the highly anticipated Mr. Malcolm’s List (2022) with the Leitz Primes, which is coming to screens in July 2022. The Leitz Primes are full frame, fast and spherical lenses, designed from the ground up and are very different to other Leitz lenses. Shift 4 have a set of 12 focal lengths available (ranging from 18mm-180mm) and sought to offer the community a varied and professional review of their capabilities. Get your RAW footage HERE!

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

Hello Had queried about use of spherical as well as anamorphic lenses for a diploma film project in a different forum. Now I have decided to shoot the film in both the formats - flat as well as scope. If I shoot 1.33 spherically and 2.35 on anamorphic, then the negative will be scanned to 2048 x 1536 (10bit dpx) in both cases, if i am using the universal gate on Arri 535B (4perf). Now how will the project be finished to final 2K DCP post grade if the film contains both the flat as well the scope material. Also due to Kowa Prominars not being in perfect condition, we might be sourcing Hawk C Series lenses from the rental. Can the members reflect on the look and image qualities regarding the same lenses. Will be shooting the spherical portion on Zeiss High Speed Lenses. Thank You Regards Shashank Walia Class of 2011 Film and Television Institute of India

Friends, I am shooting a drama with half of film inside a house and half on road. I am using Sony F65 with ultraprime lenses. I was toying with the idea of shooting the outdoor portion of the film which consists of Landspcapes (road journey) & in car with Anamorphic lenses. What should I keep in mind when am doing car interiors(Dialogues) with anamorphic. We will be shooting some scenes taking the car on low loader and some on a Green Screen. As regards with Green Screen panoramic background plates, am still wondering if it should be shot anamrophic or I will be good with Canon 5D Mark2 cameras rigged on a car as done in 24. Any insight, experience would be really helpful. Cheers!