This is a Mamiya 200mm f/2.8 APO lens that has been modified for cinema use by Duclos Lenses. It has been fitted with an Arri PL mount, front 77mm threads with a standard 80mm O.D., the iris dampened and de-clicked, and a standard 0.8 mod focus gear added. This telephoto lens is a great way to expand any cinema prime lens kit.
The lens was designed to cover medium format, making it very well-suited for full frame and larger sensors, with exceptional sharpness corner-to-corner. Vignetting is almost nonexistent, even wide open. The built-in hood is not usable when the 80mm ring is installed, so a matte box is advised. Close focusing is limited to 2.5 meters (8.2 feet), if you’ll be using this lens for extreme closeups or macro work, we suggest adding a PL extension tube or diopters.
The Zeiss CP2 135mm T2.1 lens with EF mount is a beautiful telephoto lens on both full frame and super 35 sensors. Zeiss CP.2s have become a standard for film and television productions. The Compact Prime family offer full-frame coverage for DSLRs and speedboosters, and are equally at home on cinema cameras with EF mounts and DSLRs. We carry them in native EF and PL mounts, and can adapt them to nearly any camera system.
The fourteen-blade iris makes for near-perfect bokeh and Zeiss’ T* coating reduces reflections and flare. Zeiss CP.2s are fully manual, and barrel sizes are matched for easy lens changes, even behind a mattebox and follow focus. All our CP2 lenses have imperial markings (in feet).
Our Zeiss CP2 lenses can be reserved and rented as a kit. We don’t accept advance reservations for individual lenses, but you can pick them up same-day with an appointment.
Insurance or a deposit is required for this rental.
The Fujinon MK series 50-135mm T2.9 zoom lens is a medium-telephoto zoom designed for E-mount cameras with NEX or super 35 sensors, like the Sony FS7 and a6500. It can also work with FE-mount cameras in crop mode.
The continuous T2.9 aperture, fixed length, and three standard 0.8 pitch gears make this a powerful option for both scripted and run-and-gun shooting styles. The lens is entirely non-electric, meaning that focus, zoom, and aperture are controlled manually, although a servo motor can be easily installed. The lens has an 85mm outside diameter and 82mm front threads. The lens also features a macro mode, which moves the close focus point from 1.2m to 0.85m.
“Fujinon has combined the best parts of great cinema and broadcast lenses together into what is probably the most useful set of zooms available for Sony’s E-mount video cameras. The MK series is somehow able to be lightweight, sharp, relatively fast, and still affordable. The Fuji pedigree shows through with adjustable back focus, for a perfect parfocal lens. In addition, breathing is near zero, flares are relatively well-controlled, and the lenses are usable even wide open.
As for negatives, the MK series is only for E-mount cameras and can’t be easily adapted to EF, PL, or used for full frame. The E mount standard does have some play, so shooters used to PL will probably want to use a lens support.”
The SLR Magic APO Hyperprime Cine 4-lens set is a highly-reviewed family of full frame apochromatic cine prime lenses with a matched T2.1 aperture. The rental kit includes:
SLR Magic APO Hyperprime Cine 25mm T2.1
SLR Magic APO Hyperprime Cine 32mm T2.1
SLR Magic APO Hyperprime Cine 50mm T2.1
SLR Magic APO Hyperprime Cine 85mm T2.1
We offer this rental in your choice of EF or Arri PL mounts.
The lenses project a 44mm image circle, covering all full frame standards and the 7K resolution of the Red Weapon VV. Standard gears control the manual focus and iris, with a 300-degree focus rotation. Focus is internal, maintaining lens length throughout. Each lens has a 95mm front diameter for clamp-on matte boxes, and also features an 82mm front thread for round filters. Your rental includes a hard case.
“The apochromatic design of the SLR Magic APO Hyperprime series is previously unheard of in an “affordable” cine lens. High-contrast areas are rendered without the magenta/green fringing common to most lenses. The lenses are sharp, but not clinical, and effective through the entire aperture range. Vignetting is modest on full frame, and negligible on s35. Breathing is almost nonexistent. The SLR Magic APO series invites comparisons to the Cooke S4i series, and holds up exceptionally well, considering you could buy ten SLR Magic lenses for the price of one Cooke. The biggest drawback of the set is no extreme telephoto or wide angle.”
The Zeiss ZE lens family are full frame lenses designed for Canon EF mounts. The 35mm, 50mm, and 85mm in this kit are all f/1.4, great for creating shallow depth of field and working with limited light. These lenses are all manual focus only, with electronic iris control.
Advantages over the standard Canon 50mm photo primes include hard focus stops, longer focus barrel rotation, and sharper optics edge-to-edge. Nearly all reviewers rate the Zeiss performance ahead of Canon’s L-series primes.
The Rokinon Cine DS Lens Kit includes seven prime lenses covering a complete range of focal lengths. All of the lenses feature 0.8 mod gears on focus and iris, declicked apertures, and fully manual operation.
These lenses have a Canon EF mount, and can easily be adapted to other camera mounts as well. Each of the lenses (except for the 8mm) covers full frame sensors.
Your rental includes:
Rokinon 8mm T3.8 EF
Rokinon 14mm T3.1 EF
Rokinon 24mm T1.5 EF
Rokinon 35mm T1.5 EF
Rokinon 50mm T1.5 EF
Rokinon 85mm T1.5 EF
Rokinon 135mm T2.2 EF
7-lens hard case
“The Rokinon Cine DS lenses tend to flare more than their bigger-budget cinema lens counterparts, and maybe aren’t as sharp wide open. But in most situations, audiences won’t ever see their weaknesses. Most of the lenses are incredibly fast, up to T1.5. Their greatest strength is accessibility on a budget, with a relatively small size and weight. For shoots without an AC, they should always be considered, simply because they are easier to handle (and less expensive to replace).”
The SLR Magic Anamorphot 1.33x anamorphic 3-lens set with PL mount is the only anamorphic lens set that’s priced to be within reach of independent filmmakers and medium-budget commercials. All three lenses are designed to create 2.35:1 ultra-widescreen images on cameras with super 35-sized sensors. The 50mm and 70mm lenses also cover full frame.
The lenses are PL mount, and can easily be adapted to shoot on Sony E mount. They have a uniform 82mm front filter thread.
The kit includes SLR Magic Anamorphot-Cine 1.33x 35mm T2.4 PL, SLR Magic Anamorphot-Cine 1.33x 50mm T2.8 PL, SLR Magic Anamorphot-Cine 1.33x 70mm T4 PL, and a hard case.
Until now, budget anamorphic meant using an anamorphic adapter with a separate taking lens. Using a complete system prevents optical alignment problems and greatly simplifies focus. The SLR Magic specialized coating emphasizes the horizontal “blue streak” type flare from bright highlights.
These lenses are fully manual and have no electronic communication with the camera. You must adjust aperture and focus manually. You may want to consider renting a follow focus and rails system. The unique front-element focus rotates and extends while focusing, making matte boxes inadvisable for this kit.
Zeiss CP.2 lenses have become a standard for film and television productions. These cinema primes offer full-frame coverage for DSLRs and speedboosters, and are equally at home on cinema cameras with EF mounts and DSLRs. You can choose your own set of six lenses, including the “super speed” 35mm, 50mm, and 85mm lenses.
Shooting on a matching lens set means your shots will all have the same color, contrast, and look. The fourteen-blade iris makes for near-perfect bokeh and Zeiss’ T* coating reduces reflections and flare. These lenses are fully manual, and the barrel sizes are matched for easy lens changes, even behind a mattebox and follow focus. They have imperial markings (in feet). Your rental includes a hard case.
Zeiss CP.2 21mm T2.9 EF Zeiss CP.2 25mm T2.1 EF
Zeiss CP.2 28mm T2.1 EF
Zeiss CP2 35mm T1.5 EF Zeiss CP.2 50mm T1.5 EF Zeiss CP.2 85mm T1.5 EF
Zeiss CP.2 100mm T2.1 EF
Zeiss CP.2 135mm T2.1 EF
The Rokinon 135mm T2.2 EF Mount Lens is a manual focus telephoto lens for full frame video cameras, perfect for the filmmaker balancing the needs of a production against a tight budget. All of Rokinon’s Cine DS lenses feature a de-clicked aperture, consistent color reproduction across focal lengths, standard focus gears, and T-stop markings on both sides of the barrel.
We rent a complete set of Rokinon Cine DS lenses, from 8mm to 135. Samyang, Rokinon, and Bower are three identical lens brands all made by the same company, using the same optical formula.
This lens is a great length for close ups and portraits, especially on full frame cameras. It can also be mounted on super 35 and APS-C cameras, making it a more extreme telephoto.
“The Rokinon Cine DS lenses tend to flare more than their bigger-budget cinema lens counterparts, and won’t match for corner sharpess wide open. But in most situations, audiences won’t ever see the difference between them. Their greatest strength is accessibility on a budget, with a relatively small size and weight. For shoots without an AC, they should always be considered, simply because they are easier to handle (and less expensive to replace).”
The SLR Magic Rangefinder Cine lens adapter gives you cine-style focus control of any lens. It’s a variable diopter that adjusts from 0 to +1, giving you focus from infinity to 1m, with a standard focus gear. It has 77mm rear threads and 82mm front threads.
The Rangefinder is naturally paired with the SLR Magic Anamorphot adapters, or any vintage anamorphic projector adapter that’s been converted for use with spherical taking lenses. It’s also useful for adding a focus gear and standard rotation to any lens, including Nikon lenses that otherwise focus “backwards.”
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