Cinema Lenses
For the Discerning
Cinematographer

Among the most sought-after vintage cinema primes ever made. Developed jointly by ARRI and Zeiss from the 1970s onwards, the Super Speeds deliver an unmistakably warm, slightly soft wide-open character with extraordinarily smooth focus fall-off. At T1.3 they were among the fastest production cinema lenses of their era — still unmatched for their organic, filmic rendering on modern digital cameras. A PL mount set offering the classic Super Speed look that defined the aesthetics of decades of cinema.

The Canon K-35 lenses, originally designed in the 1970s for 35mm film production, are widely regarded as among the most beautiful and distinctive vintage cinema primes ever manufactured. Their warm, painterly rendering, characteristic veiled wide-open look, and extraordinarily pleasing bokeh have made them coveted by top cinematographers including Emmanuel Lubezki, Roger Deakins, and Hoyte van Hoytema. This set has been professionally rehoused by True Lens Services (TLS), receiving modern PL mounts, consistent front diameters, precision focus gears, and calibrated witness marks — making them fully compatible with modern cinema workflows while preserving their irreplaceable optical character.

The complete eight-lens Canon K-35 TLS set — one of the most valuable and complete vintage cinema prime collections available on the market. Spanning from ultra-wide 14mm through to 135mm portrait telephoto, this set offers an unparalleled range of the K-35 optical character. Each lens has been individually rehoused by TLS with PL mount, calibrated focus scales, consistent 114mm front diameter, and standard 0.8 pitch focus and iris gears. A complete K-35 TLS set of this scope is extraordinarily rare; most collections are assembled focal length by focal length over many years. An exceptional opportunity for a major rental facility or studio.

Canon's legendary FD series from the 1970s and 80s offered some of the finest photographic optics of their era. The 14mm, when rehoused by True Lens Services into a modern cinema body, delivers an immersive ultra-wide field of view with the warm, organic character of the FD optical design — minimal in the clinical crispness of modern glass, rich in the three-dimensional depth that only vintage glass provides. TLS's rehouse process installs a PL mount, consistent 0.8 pitch gears, and calibrated scales, making this lens a practical everyday tool on productions demanding a genuinely unique wide-angle character.

Designed by Leica Camera AG in collaboration with ARRI and manufactured to Leica's exacting optical and mechanical standards, the SUMMICRON-C series brings the legendary Leica optical heritage to professional cinema production. At T2.0 across all eight focal lengths, they deliver the extraordinary micro-contrast, rich colour saturation, and three-dimensional rendering depth that Leica's photographic lenses have been celebrated for since the 1950s. The SUMMICRON-C's rendering is distinctive without being overt — images have a quality of depth and presence that few other cinema lenses match. Used on productions requiring the absolute highest image quality with a sophisticated, refined character.

Zeiss's flagship modern cinema primes, launched in 2019 and already used on Oscar-winning productions including Godzilla Minus One, Triangle of Sadness, and Glass Onion. A consistent T1.5 aperture across the full range with FF+ coverage up to a 46.3mm image circle. The Supreme Primes balance clinical precision with a gentle, organic softness that avoids the harsh digital edge of comparable glass — particularly noted for their extraordinary skin tone rendering and smooth focus roll-off. eXtended Data (XD) lens metadata support included.

The long-end complement to the FD TLS range, the 135mm T2 provides excellent subject separation, smooth telephoto compression, and the warm, pleasing FD optical rendering at an accessible price point. In a TLS rehouse with PL mount, this lens is immediately deployable alongside any modern cinema prime set as a longer focal length character lens, offering a distinctly different rendering quality from modern glass. Ideal for close-coverage dialogue scenes, performance details, and any application where a subtle vintage quality is desired without committing fully to a vintage prime set.

A medium telephoto prime delivering Canon FD's characteristic smooth colour rendering and pleasing out-of-focus rendering, now in a fully cinema-ready TLS rehouse. The 100mm T2 is an outstanding portrait and close-subject lens, producing a gently compressed perspective with warm tonal characteristics particularly well-suited to skin tones and intimate scenes. TLS's precision engineering ensures correct back focus, calibrated infinity stops, and smooth focus action across the full range — all critical for first AC workflow on professional productions.

A key portrait and mid-telephoto focal length in the Supreme Prime family, the 65mm T1.5 covers full-frame sensors up to FF+ with an image circle of 46.3mm. Its internal focus design ensures minimal focus breathing, essential for modern VFX pipelines. The 65mm renders with the characteristic Supreme Prime gentleness — sharp yet organic, with smooth background separation and refined bokeh from its 16-blade iris. Compatible with ARRI Alexa LF, Sony VENICE, and all major full-frame cinema platforms.

A uniquely rare and complete extended Super Speeds collection combining MK II and MK III variants across ten focal lengths, including the exceptionally scarce 65mm Super Speed — one of the rarest cinema primes ever produced. Complete sets of this scope almost never appear on the open market. Designed for Super 35 cinema cameras, they deliver the legendary warm, organic Super Speed look across an unusually comprehensive focal length range. An outstanding acquisition for a rental house or major production company.

A versatile wide-angle prime covering full-frame and Super 35 sensors with excellent edge-to-edge sharpness even wide open at T1.5. The 21mm Supreme Prime features an internal focus design that eliminates front element rotation and keeps barrel length constant throughout the focus range. Minimal geometric distortion makes it an excellent choice for architectural, environmental, and dramatic wide-angle narrative work. The ultra-smooth focus rotation — effective even at extreme temperatures — supports precise focus pulling in demanding production conditions.

Designed by ARRI to complement the Zeiss Master Prime series, the ALURA 45-250mm T2.6 is an exceptionally capable telephoto zoom used extensively on major feature film and high-end TV productions. Its Internal Focus design maintains constant barrel length throughout both zoom and focus movements — critical for matte box and follow focus compatibility. At T2.6 across the full zoom range it is remarkably fast for a telephoto zoom, enabling shallower depth of field and better low-light performance than most competing long zoom options. Colour matched to the ARRI/Zeiss prime ecosystem for seamless intercutting.

Cooke's acclaimed 2x anamorphic series for Super 35 cameras, delivering the classic oval bokeh, characteristic horizontal lens flares, and wider field of view that define the anamorphic format. Featuring Cooke's /i Technology for complete lens metadata capture — focal length, serial number, focus distance, aperture, and depth of field — all recordable in real time for post-production and VFX workflows. The inclusion of a 65mm Macro extends the set's versatility significantly. Used extensively on high-end narrative features and premium TV productions worldwide.

The Compact Prime CP.2 series bridges the gap between high-end cinema and versatile production glass. A modular mount system allows the same optics to be used across PL, Canon EF, Micro Four Thirds, and other mounts without optical change — making this set exceptionally adaptable across camera platforms. At T2.1, they deliver clean, neutral image quality with strong micro-contrast and consistent colour rendering. Their robust build and compact size suit documentary, commercial, and independent narrative work equally well.

Canon's CN20x50 IAS is a broadcast-heritage precision cine servo zoom offering a 20x zoom ratio spanning 50mm to 1000mm in a PL mount configuration — an extraordinary telephoto range unavailable in any comparable prime package. Drawing on Canon's decades of ENG and cinema zoom expertise, it delivers impressive optical performance across the full zoom range including image stabilisation. The IAS (Image Stabiliser) system compensates effectively for camera shake on longer focal lengths, making this lens suitable for handheld, wildlife, sports documentary, and long-lens narrative coverage.

An evolution of the highly successful CP.2 platform, the CP.3 refines the optical design with improved edge-to-edge resolution and adds eXtended Data (XD) support on selected variants, enabling complete lens metadata capture for modern workflows. At T2.1 across the range, the CP.3 set delivers exceptional image quality in a compact, modular package. The interchangeable mount system retains compatibility with PL, EF, and native mirrorless mounts. Improved weather sealing over the CP.2 makes these lenses well-suited to documentary and location production.

Part of Cooke's S8/i series — the first Cooke prime range designed natively for full-frame and large-format cinema cameras. The 35mm T1.4 delivers the celebrated Cooke Look in a modern full-frame package: warm, three-dimensional, and deeply organic. At T1.4, this is one of the fastest large-format cinema primes available, capable of extremely shallow depth of field on full-frame sensors. Cooke /i Technology enables complete lens data for post-production, VFX, and focus assist systems. An ideal complement to an existing S4 or anamorphic package.

One of the widest rectilinear prime lenses in production cinema history. The ARRI/Zeiss ARRI Ultra Prime 12mm T2.0 M Wide-Angle Cine Prime (Used) delivers an immersive, distortion-corrected ultra-wide field of view with the neutral, reference-quality rendering that defines the Ultra Prime series. The M-series designation indicates a compact, mid-weight housing suited to handheld and Steadicam configurations. At T2.0 it is notably fast for an ultra-wide prime, enabling it to function in challenging low-light environments while maintaining the expansive field of view required for immersive environmental cinematography. An essential tool for documentary, architectural, and dramatic wide-angle narrative work.

Designed specifically for mirrorless cinema cameras including the Sony BURANO, FX9, FX6, and VENICE, the Nano Prime series uses a native Sony E-mount — no adaptor required, eliminating any adaptor-induced vignetting or performance loss. At T1.5 they cover full-frame sensors with excellent sharpness and a refined, subtle look well-suited to documentary and commercial production. Includes Cooke /i Technology lens metadata support. This ex-demo set with original transport case is in as-new condition, representing outstanding value.

Introduced in 2001, the ARRI/Zeiss Ultra Primes established the modern standard for cinema prime lens sets — a benchmark that many subsequent designs have aspired to but few have surpassed. This ten-lens set spans from the immersive 12mm ultra-wide through to the compressed 135mm telephoto, covering every principal focal length a production could require. The Ultra Primes are defined by their optical neutrality: no exaggerated character, no flattering distortion — just accurate, reference-quality imagery that gives the post-production pipeline maximum latitude. LDS (Lens Data System) support enables complete lens metadata. Colour matched and fully consistent across all ten lenses.

One of the most comprehensive prime sets available on the pre-owned market. The Cooke S4 lenses defined the "Cooke Look" for a generation of cinematographers — a distinctive warmth, three-dimensional rendering, and pleasing highlight roll-off that has graced hundreds of major feature films. At T2.0 across all focal lengths with Cooke's /i Technology, this eleven-lens set covers the full spectrum of production scenarios from extreme wide-angle to portraiture. The S4/i became the benchmark against which other cinema prime sets are measured; an 11-piece set is exceptionally rare to find intact.

Cooke's full-frame anamorphic series, using a 1.8x squeeze ratio engineered specifically for large format cameras including the ARRI Alexa LF, ALEXA Mini LF, and Sony VENICE. Covering sensors up to a 46.31mm image circle, these lenses maintain the renowned Cooke Look — a distinctive three-dimensional rendering with warm colour characteristics — while delivering all the hallmarks of the anamorphic format: elegant oval bokeh, panoramic field of view, and controlled horizontal flares. Full /i Technology lens metadata support across the entire set. A landmark investment for any production company.

A second complete six-lens Supreme Prime set available in feet markings. Compact and lightweight — most lenses in the range weigh under 1.6kg — making them ideal for handheld, gimbal, and Steadicam configurations. Colour-matched across the full range with a consistent 95mm front diameter, 16-blade iris, and standardised gear ring positioning. Backed by ARRI, Sony Venice, RED and Canon C700FF camera compatibility. Zeiss eXtended Data technology delivers complete lens metadata for VFX-intensive workflows.

An ex-showroom Zeiss Nano Prime 6-lens set bundled with a complete Kippertie RF Mount Set, extending native compatibility to Canon EOS R-series cinema cameras including the EOS R5C and Cinema EOS C70. The Kippertie adapter is the leading native RF-to-cinema-prime solution, preserving full electronic communication including autofocus and metadata passthrough. Supplied with the original transport case. A ready-to-deploy package for Canon RF-based mirrorless cinema productions requiring fast, full-frame prime glass.