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 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.
Rokinon adapted their prime full-frame photo lenses for video shooters and created a revolution in affordable cinema optics. Optically, this EF 85mm T/1.5 is the same lens at their 85mm f/1.4, but with a de-clicked aperture and teeth on the focus ring to accept any standard follow focus. This is the best-reviewed of all their cine primes, and the fastest long lens in our inventory. Wide open, we think it holds its own against the Canon CN-E 85mm, which is incredible at this price point.
This is our new go-to lens for interviews, and indispensable for events in low light. Even photo shooters can get some great images out of it, although if you prefer an autofocus prime, look at the Canon EF 85mm f/1.8.
This Rokinon 14mm T/3.1 lens is the widest fullframe lens Rokinon offers, with more than 115-degree angle of view on a camera like the Canon 5D mark III. It’s also a very useful wide on smaller sensors like APS-C, as well as MFT with an adapter.
The aperture is declicked and the lens is fully manual, making it perfect for video and cinema applications. We also offer the photo lens for photographers. The lens hood is fixed, so round filters aren’t an option. You’ll need a matte box and square filters.
This lens is popular with Blackmagic camera shooters with EF mount cameras. It also tends to find its way onto productions with the Zeiss CP2 or Schneider FF lenses, when those fullframe lenses just aren’t wide enough.
This is a Zeiss ZE Planar T* 50mm f/1.4 lens, with an EF mount. The iris is electronically controlled, but the focus is fully manual, and a focusing gear has been added by Duclos Lenses cine-mod process.
The combination of Zeiss optics, all-metal construction, and a focus gear make this lens a killer choice for video as well as product photography where precision is paramount. The standard gear pitch will match with any follow focus. If you’re a video shooter going for a cinema-style look without breaking the bank, this lens should be the first one in your kit.
Advantages over the standard Canon 50mm photo primes include hard focus stops, longer focus barrel rotation, and sharper optics edge-to-edge, especially in the middle of the f-stop range. Nearly all reviewers rate the Zeiss above the highly coveted 50mm f/1.2L (as well as the 50mm f/1.4), and for video shooters, the difference is even more pronounced. Close-focuses to 1 1/2 feet.
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