A curated selection of prime and zoom lenses chosen for character, precision, and reliability. From cinematic texture to modern sharpness, our lens inventory supports a wide range of visual styles and storytelling approaches.
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The Canon 8-64mm T2.4 is not only sharp, it has one of the most useful zoom ranges of any lens and an amazing close-focus, with almost no focus breathing at any focal length. The zoom range is roughly equivalent to the field of view of a 14.5mm–115mm on a Super 35mm sensor, with a constant T2.4 aperture throughout and no ramping. Compact, lightweight, and beloved by documentary filmmakers, this lens is equally suited to narrative and run-and-gun work where changing glass simply isn’t an option.
The Cooke Varotal 20-100mm was the first 35mm cine zoom to feature internal focusing, and using Cooke’s proprietary Varomag wide-band anti-reflective coatings it achieved a transmission of 80%. It carries the distinctive Cooke Look with its beautiful organic qualities, emphasizing skin tones and textures while giving a slight softness. A true piece of cinematic history the Varotal delivers a warm, filmic character that translates beautifully onto modern digital cameras.
Thanks to Angenieux’s innovative IRO (Interchangeable Rear Optics) technology, the EZ-1 is compatible with Super 35 and Full Frame/Vista Vision cameras. In its native Super 35 configuration it covers 30-90mm at a fast T2.0; swap the rear optical block and it becomes a 45-135mm T3.0 for full-frame sensors — with no change to the physical length or minimum focus distance. The colorimetry matches that of Angenieux’s Optimo and Optimo Style series, and internal focusing and zooming keep the lens size constant throughout operation. A highly versatile workhorse zoom that punches well above its weight class.
The ARRI Zeiss Standard Speed Mk II PL primes are small, solid, and lightweight — fast enough at T2.1 with an organic sharpness, focus fall-off bokeh that differs from modern lenses, and slightly more contrast. Produced in the early 1980s, these five lenses carry decades of cinematic history and bring an additional filmic aesthetic to modern digital cameras. The wider focal lengths use Zeiss’s Distagon design for well-controlled distortion, while the 50mm and 85mm Planars are known for their high sharpness, flatness of field, and pleasing bokeh — ideal for portraiture and close-up work.
16mm, 24mm, 32mm, 50mm, 85mm
The Zeiss Super Speed Super 16 Prime Lenses are very sharp even wide open, have medium contrast, excellent close-focus, beautiful lens flares, and virtually no focus breathing. At T1.3, this five-lens set is built for low-light work and shallow depth of field in the Super 16 format, delivering an unmistakable cinematic character that filmmakers have relied on for decades. The Mark II features a shorter 180-degree focus rotation, making it ideal for operators pulling their own focus on the barrel or with a manual follow focus. Small and lightweight, this set is equally at home on gimbals and handheld rigs as it is in traditional film setups.
9.5mm, 12mm, 16mm, 25mm, 50mm
Designed as an open standard, camera-independent lens series, the LPL-mount ARRI Signature Primes cover all sensors up to and including full-frame large-format. This six-lens set spans wide-angle to telephoto, with each focal length sharing the same fast T1.8 aperture, organic rendering, creamy bokeh, and subtle flare characteristics the series is known for. While exemplifying state-of-the-art optical precision, the Signature Primes render organic, emotionally engaging images, gently softening and texturizing the large-format look with natural skin tones. Machined magnesium lens barrels make the set lightweight and robust, with smooth focus fall-off that gives subjects heightened presence in the frame.
18mm, 25mm, 35mm, 58mm, 95mm, 125mm
