Elite Anamorphic 9 Lens Set

Elite Anamorphic 9 Lens Set (T2.1 MRK V Series)

Welcome to the flagship of anamorphic motion picture lenses. With NINE focal lengths & color matched lenses in the set, all shots are now possible. These lens yield beautiful bokeh and the classic anamorphic horizontal flares. All lens are front element anamorphic creating the signature of the great movies of all time… Each lens comes in its own flight case with the necessary support. Rent Optica Elite Anamorphic Lenses For The Ultimate Experience…

24.5mm (T2.1)

32mm (T2.1)

40mm (T2.1)

50mm (T2.1)

75mm (T2.1)

100mm (T2.1)

135mm (T2.5)

180mm (T2.8)

250mm (T3)

Optica Elite S-7 Anamorphic 5 Lens Set

Feature Highlights

Anamorphic Lenses available: 25, 40, 50, 75, 100, 135, with 2x squeeze.

Offers anamorphic lens characteristics including 2:1 oval bokeh for out of focus highlights

Especially well balanced for astigmatism and corrected for lateral and longitudinal aberrations over the entire image area.

Linear iris

Award-winning cam-style focus mechanism allows for smooth focus adjustments.

40mm (T1.9)

50mm (T1.9)

75mm (T1.9)

100mm (T2.3)

135mm (T2.8)

Elite Super 35 8 Lens Set

Anything is possible with this 6 lens set.  Make an entire movie with this set of Super 35 set of lenses. They are super fast at T1.3 shooting at night where most lenses are unable to go…

Used for feature film Zero Dark Thirty


12mm (T1.9)

14mm (T1.9)

18mm (T1.3)

24mm (T1.3)

35mm (T1.3)

50mm (T1.3)

75mm (T1.4)

100mm (T1.6)


ARRI/ZEISS Master Prime 135

 Perfect portrait lens 

– Ideal focal length for portraits, Gentle, pleasing bokeh through round iris at all apertures, Shallow depth of field through T1.3, and Close focus of 0.95 m (37”)

Master Prime image quality 

– High resolution, High contrast , and Low distortion


– ARRI Lens Data System 

– Automatically provides lens metadata and Increases efficiency of VFX and 3D post

-Matched to all other ARRI primes and zooms

– Film-style ergonomics 

– Master Prime standard position of focus and iris rings and Master Prime standard front diameter of 114 mm

"It's absolutely essential that I get a sharp image every time, and these lenses have never let me down."

ARRI Master Macro 100

For those who want the ultimate in image quality for table top cinematography, product shots, close-up inserts on feature films or any other applications that require a macro lens, the ARRI Master Macro 100 delivers images of breathtaking beauty. 

Designed for the ANSI Super 35 image format, the ARRI Master Macro 100 can be used on any PL mount 35 mm film and single sensor digital camera. 

With a 1:1 magnification ratio, a maximum aperture of T2.0 and an optical design developed specifically for macro work, the ARRI Master Macro delivers phenomenally sharp and contrasty images with vibrant colors for extreme close-ups of the highest visual quality.  

Fujinon Cabrio 19-90 Lens

The ZK4.7×19 is a standard zoom lens with common focal lengths ranging from 19mm to 90mm. With the ZK series’ detachable servo unit, the lens operates in the same way as traditional broadcast British style lenses and accessories. In addition, for all models in this series, after removing the servo unit, it is also possible to use a conventional film manual or an external film motor suitable for zoom or focus operation.

Using the latest optical simulation technology and high-precision large-diameter aspherical elements, the lens weighs only 2.85 kg, making it lightweight and compact while achieving high optical performance. High resolution from center to corner for high image quality on the big screen in movie theaters without the slightest image distortion.

– High resolution, High contrast , and Low distortion

Alura 2X Extender - PL Mount

The new ARRI Alura LDS Extender 2.0x is the perfect products to extend the focal length range of zoom and prime lenses. This additional lens system which can be easily mounted between the camera’s PL mount and the zoom or prime lens PL mount are small and lightweight and have the ability to transfer lens metadata from appropriate lenses based on the protocol of the ARRI Lens Data System (LDS) to the camera. Most Alexa cameras can identify the extender type automatically and show the right lens data.

The two extenders are specially designed for the ARRI/Fujinon Alura zoom lenses and multiply the focal length of the base lens by a factor of 2.0 with only two T-stops loss at full aperture. The combination with the ARRI Alura zoom lenses gives a highly competitive solution over expensive long range zoom lenses with only little or no influence to the optical quality of the Alura zoom lenses.

ARRI Fujinon Alura 18-80 T2.6

Using the latest in optical design technology and innovative manufacturing techniques, the ARRI/FUJINON Alura Zooms combine the highest optical performance with an amazingly small size and weight.

Lenses used in Killer Joe (2011)

ARRI Fujinon Alura 45-250 T2.6

All Alura Zooms’ color characteristics, as well as their handling, are matched to existing prime lenses in ARRI’s outstanding repertoire. Rent Fujinon Alura Lenses

Lenses used in Spy Kids (2011)

ARRI Fujinon Alura Zoom 15.5-45 T2.9

Lens Mount: PL LDS-1

Focal Length Wide: 15.5

Focal Length Long: 45

Focal Length Ratio: 2.9

ARRI Fujinon Alura Zoom 30-80 T2.9

Lens Mount: PL LDS-1

Focal Length Wide: 30

Focal Length Long: 80

Focal Length Ratio: 2.7


Vintage Prime & Zoom Lenses

ZEISS Super Speeds T1.3

The lenses are no longer manufactured  perhaps the most demanded set of vintage primes on the planet…The favorite lenses of a cinematographer.
Super 35: 18mm, 25mm, 35mm, 50mm & 85mm  all T1.3

Lenses used in The Shawshank Redemption (1994)

-Lightweight lenses

-Markings in both meters & feet

-Works great in all lighting conditions

– T1.3 with a 7 blade iris

-Aperture goes as low as T16

Century Super-Wide Low-Angle Prism

For Extreme Low or High Angle Shoots

The Century Super-Wide Low-Angle Prism allows for shooting down to a point of view of 2.5” (6.35 cm) off the floor and supports lenses as wide as 16 mm. The unit can be inverted to provide for high-angle shots as well. Lenses up to 5” (127 mm) may be installed directly behind the prism without filters for the widest view possible. It couples directly to standard bridgeplate rods and accepts two 4”x5.65” filters, and an adapter accommodates two 4”x4” filters or Chrosziel holders. The addition of filters increases the distance between the back of the prism and lens by 3⁄4”, which may limit the coverage of certain wide- angle lenses.

The prism makes many difficult shots much easier and provides high quality optics that minimize light loss and create crisp, clear, distortion-free images.

Features: Widest Low-Angle Prism Available and Point of View as low as 2.5”

(6.35cm): Specially Coated, High-Density

Glass: Precision Construction and Housing Includes Adapter for

4”x4” filter holders: Less than 1⁄2 T-stop Light Loss