Zeiss Supreme Prime lenses are designed for cinematic large-format sensor coverage, making them the ideal choice for current and future camera systems. The unique quality of the Supreme Prime lenses is a gentle sharpness that renders a crisp but organic look, especially when capturing crucial textures such as skin tones, ensuring the freedom to create the look you want to achieve. At T1.5, the Zeiss Supreme Primes demonstrate their unsurpassed craftsmanship in tricky low-light environments.

The Laowa Proteus Anamorphic feature Super 35 coverage, interchangeable PL and EF lens mounts, an aperture range of T2 to T22 for a deep depth of field, 10 iris blades for a shallow depth of field and soft bokeh, and a 2x anamorphic squeeze to capture a vintage, cinema-style anamorphic look.

Tokina’s Vista Cinema primes are modern, high-resolution optics that distinguish themselves by having virtually zero breathing. Minimized distortion and low chromatic abberations make them well-suited for the latest 8K sensors. With a 46.7mm image circle, the Vista Prime lenses cover nearly every digital cinema imaging sensor on the market.

In designing a complete line of lenses for professional medium-format stills photography, Mamiya unintentionally created an excellent set of vintage large-format cinema glass. Their consistent quality, performance, and color matching across a wide range of focal lenths – 15 prime lenses – makes them ideal candidates for motion picture use.

Our in-house conversion adds cinema standard 0.8 mod focus gears, hard PL mounts for most lenses, 80mm fronts, and a few other special touches to make them ready for production.

With the Ultra Prime series, Arri and Zeiss set new optical and mechanical standards for cinema lenses. Matching color rendition and contrast across the entire focal range, uniform mechanical characteristics from one lens to another, and optics designed to look their best at close distances rather than infinity are among the innovations of the Ultra Prime range. See for yourself why Ultra Primes have been among the most popular lenses for over 25 years.

As bona-fide classics, Zeiss Standard Speeds hardly need introduction; countless stunning images have passed through this glass. Considered modern optical designs when unveiled in the 1960s, today these vintage classics render images that evoke many of the most celebrated cinematic works of the 20th century. With the mechanical improvements achieved in the mid-1980s Mark II housings, Standard Speeds continue to be dependable workhorse lenses to this day.

Canon brought their long history of optical design to bear when conceiving the CN-E cinema prime lenses. Created with high-resolution digital sensors in mind, CN-E primes feature the warm rendition and vivid contrast for which Canon glass widely is known, within a modern and reliable mechanical design optimized for the fast pace of 21st-century productions.

Canon Flex Zoom lenses are built to impeccable standards and are designed to work seamlessly together, with identical weight, dimensions, focus gears and front diameter. 8K-ready optical performance, fast stop, superb color rendition, and available in full frame or super 35. S35 from 14mm to 95mm at T1.7 and full frame from 20mm to 135mm at T2.4.  These two lenses cover an entire set of focal lengths.

Canon’s flagship cinema zoom lenses distinguish themselves with optical performance that’s outstanding in every way, while also being among the lightest and physically smallest in their respective classes. The CN-E 14.5-60mm showcases remarkable image quality with minimal breathing or distortion, and a consistent T2.6 aperture across its zoom range. The CN-E 30-300mm features similar optical excellence while maintaining a T2.95 stop from 30mm to 240mm, before ramping gradually to T3.7 over the remaining 60mm. Focus, iris, and zoom gear rings share common position and size across the two lenses; with identical front diameters, swapping from one studio zoom to the other requires only minimal adjustment.

Canon Cinema Compact Zoom lenses offer excellent image quality in a small, light-weight form factor ideal for high mobility and confined spaces. With constant T2.8 apertures, focal-lenth changes require no adjustments to lighting or filtration. Like all other lenses in the CN-E series, these zooms feature uniform contrast and color balance, minimal breathing, and low distortion. Focus, iris, and zoom gear ring positions are matched between both lightweight zooms so that lens swaps need minimal time and effort.

Canon’s parfocal Compact-Servo lenses prioritize size and mobility, with each lens weighing in at less than 3 pounds. Image stabilization and autofocus (with compatible cameras) are built in to assist solo operators in uncontrolled or unscripted environments, while integrated servo drive units offer both handheld control and compatiblity with broadcast lens controllers. The 18-80mm covers the most commonly used focal range with just one lens, while the 70-200mm provides for the most popular telephoto focal lengths.

Add a wide range of unique macro views to your PL-mount cine camera capture using the LAOWA Pro2be 24mm T8 2x Probe 3-Lens Set from Venus Optics. This set comprises a direct view straight lens, a 35° view lens, and a 90° periscope lens. Read more below about each of the full-frame lenses in this kit.

Calling this their “weirdest but most genius macro lens ever,” Laowa’s 24mm probe lens has a wide-angle view and focuses from infinity to less than 1 inch from the front of the lens, providing a unique and incredible perspective. With a narrow, 15.7″ long barrel, this lens can go where almost any other can’t. An integrated LED ring light at the front of the lens can be used to illuminate close-up subjects if lighting is other­wise impossible. This “Cine-mod” version has standard-pitch gears on the focus and iris rings.

The Laowa 100mm T2.9 2x Macro APO Cine Lens for PL Mount, a high-quality, professional-grade lens designed for macro photography and cinema applications. This innovative lens boasts a fast aperture of T2.9, enabling the creation of a shallow depth of field and superior performance in low-light conditions. As a macro lens, it excels in capturing close-up shots of small objects or intricate details, thanks to its 2x magnification factor. This unique feature sets it apart in the market, providing an extra layer of flexibility in your photography and videography sessions.

Lensbaby is famous for their unconventional optics, and with the Movie Maker’s Kit they’ve put together a compre­hensive package for unique creative effects in motion. The Composer Pro II can tilt from 0° to 15°, with a separate ring for focus. The interchangeable Optic Swap system allows for quick changes between focal lengths and effects – the “Sweet” optics deliver a central spot in focus with rapid fall-off, while the “Edge” optics have a flat field of focus that becomes a narrow slice whenever the optics are tilted.

Take ultimate control of your compositions – make the depth of field exceptionally shallow, or apparently infinite; or, simply add a subtle shift of perspective to beguile and intrigue your viewer. Ideal for landscape, table tops and special effects shots. These lenses are ideal for creating the miniatures effect.

Canon is often considered the gold standard stills and hybrid lenses. With the continuing evolution of digital cinema technologies, there’s more overlap than ever between stills, video, and traditional filmmaking methods. Modern hybrid lenses can operate flexibly for multiple styles and modes of content production. From impressive detail in our macro options to amazing range in our telephotos, you can get brilliant results shooting both stills and videos.

Sony lenses are on the cutting edge of changing lens standards. Advances in camera performance and soaring creative ideals demand a new approach to lens technology. Lenses must evolve to remain ahead of the curve. With a clear vision of cameras of the future, Sony now redefines the lens. High resolution and appealing bokeh together at last, from the leader in imaging innovation. Combining G Master performance with the lightest and smallest form factor in its class Sony GM ii lenses continue to push the boundaries of optical performance.