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“The Embrace” Canadian Blood Services
Director: @ballztopia
Production: @opcproduction
Producer: @kino_usvit
Executive Producer: @harlandweiss
Service Company: @filmgroup.tv
DoP: @davidfoulkes_
Production Designer: @jocarkner
Choreographer: @scruffyjester
1st AD: @nathan.valente
Casting Director US: @ryanlagod
Casting Director Canada: @jigsawcasting
Production Manager: @okun.powe
DIT: @kellyfennig
1st AC: @soupy74
Gaffer: @chrisrumak
Key Grip: @idryden
Wardrobe Stylist: Tanus Lewis
Hair & Makeup: @shanniereynolds
Editor: @instagrahamchisholm @nimiopere
Colour: @simone_grattarola_colour @timebasedarts
VFX: @untold_studios
Sound Design & Mix: @starecrazy
.
Mini LF & ASC Todd-AO @keslowcamera @the__asc
@artistry.agency

“The Embrace” Canadian Blood Services
Director: @ballztopia
Production: @opcproduction
Producer: @kino_usvit
Executive Producer: @harlandweiss
Service Company: @filmgroup.tv
DoP: @davidfoulkes_
Production Designer: @jocarkner
Choreographer: @scruffyjester
1st AD: @nathan.valente
Casting Director US: @ryanlagod
Casting Director Canada: @jigsawcasting
Production Manager: @okun.powe
DIT: @kellyfennig
1st AC: @soupy74
Gaffer: @chrisrumak
Key Grip: @idryden
Wardrobe Stylist: Tanus Lewis
Hair & Makeup: @shanniereynolds
Editor: @instagrahamchisholm @nimiopere
Colour: @simone_grattarola_colour @timebasedarts
VFX: @untold_studios
Sound Design & Mix: @starecrazy
.
Mini LF & ASC Todd-AO @keslowcamera @the__asc
@artistry.agency

“The Embrace” Canadian Blood Services
Director: @ballztopia
Production: @opcproduction
Producer: @kino_usvit
Executive Producer: @harlandweiss
Service Company: @filmgroup.tv
DoP: @davidfoulkes_
Production Designer: @jocarkner
Choreographer: @scruffyjester
1st AD: @nathan.valente
Casting Director US: @ryanlagod
Casting Director Canada: @jigsawcasting
Production Manager: @okun.powe
DIT: @kellyfennig
1st AC: @soupy74
Gaffer: @chrisrumak
Key Grip: @idryden
Wardrobe Stylist: Tanus Lewis
Hair & Makeup: @shanniereynolds
Editor: @instagrahamchisholm @nimiopere
Colour: @simone_grattarola_colour @timebasedarts
VFX: @untold_studios
Sound Design & Mix: @starecrazy
.
Mini LF & ASC Todd-AO @keslowcamera @the__asc
@artistry.agency

“The Embrace” Canadian Blood Services
Director: @ballztopia
Production: @opcproduction
Producer: @kino_usvit
Executive Producer: @harlandweiss
Service Company: @filmgroup.tv
DoP: @davidfoulkes_
Production Designer: @jocarkner
Choreographer: @scruffyjester
1st AD: @nathan.valente
Casting Director US: @ryanlagod
Casting Director Canada: @jigsawcasting
Production Manager: @okun.powe
DIT: @kellyfennig
1st AC: @soupy74
Gaffer: @chrisrumak
Key Grip: @idryden
Wardrobe Stylist: Tanus Lewis
Hair & Makeup: @shanniereynolds
Editor: @instagrahamchisholm @nimiopere
Colour: @simone_grattarola_colour @timebasedarts
VFX: @untold_studios
Sound Design & Mix: @starecrazy
.
Mini LF & ASC Todd-AO @keslowcamera @the__asc
@artistry.agency

“The Embrace” Canadian Blood Services
Director: @ballztopia
Production: @opcproduction
Producer: @kino_usvit
Executive Producer: @harlandweiss
Service Company: @filmgroup.tv
DoP: @davidfoulkes_
Production Designer: @jocarkner
Choreographer: @scruffyjester
1st AD: @nathan.valente
Casting Director US: @ryanlagod
Casting Director Canada: @jigsawcasting
Production Manager: @okun.powe
DIT: @kellyfennig
1st AC: @soupy74
Gaffer: @chrisrumak
Key Grip: @idryden
Wardrobe Stylist: Tanus Lewis
Hair & Makeup: @shanniereynolds
Editor: @instagrahamchisholm @nimiopere
Colour: @simone_grattarola_colour @timebasedarts
VFX: @untold_studios
Sound Design & Mix: @starecrazy
.
Mini LF & ASC Todd-AO @keslowcamera @the__asc
@artistry.agency

“The Embrace” Canadian Blood Services
Director: @ballztopia
Production: @opcproduction
Producer: @kino_usvit
Executive Producer: @harlandweiss
Service Company: @filmgroup.tv
DoP: @davidfoulkes_
Production Designer: @jocarkner
Choreographer: @scruffyjester
1st AD: @nathan.valente
Casting Director US: @ryanlagod
Casting Director Canada: @jigsawcasting
Production Manager: @okun.powe
DIT: @kellyfennig
1st AC: @soupy74
Gaffer: @chrisrumak
Key Grip: @idryden
Wardrobe Stylist: Tanus Lewis
Hair & Makeup: @shanniereynolds
Editor: @instagrahamchisholm @nimiopere
Colour: @simone_grattarola_colour @timebasedarts
VFX: @untold_studios
Sound Design & Mix: @starecrazy
.
Mini LF & ASC Todd-AO @keslowcamera @the__asc
@artistry.agency

“The Embrace” Canadian Blood Services
Director: @ballztopia
Production: @opcproduction
Producer: @kino_usvit
Executive Producer: @harlandweiss
Service Company: @filmgroup.tv
DoP: @davidfoulkes_
Production Designer: @jocarkner
Choreographer: @scruffyjester
1st AD: @nathan.valente
Casting Director US: @ryanlagod
Casting Director Canada: @jigsawcasting
Production Manager: @okun.powe
DIT: @kellyfennig
1st AC: @soupy74
Gaffer: @chrisrumak
Key Grip: @idryden
Wardrobe Stylist: Tanus Lewis
Hair & Makeup: @shanniereynolds
Editor: @instagrahamchisholm @nimiopere
Colour: @simone_grattarola_colour @timebasedarts
VFX: @untold_studios
Sound Design & Mix: @starecrazy
.
Mini LF & ASC Todd-AO @keslowcamera @the__asc
@artistry.agency

“The Embrace” Canadian Blood Services
Director: @ballztopia
Production: @opcproduction
Producer: @kino_usvit
Executive Producer: @harlandweiss
Service Company: @filmgroup.tv
DoP: @davidfoulkes_
Production Designer: @jocarkner
Choreographer: @scruffyjester
1st AD: @nathan.valente
Casting Director US: @ryanlagod
Casting Director Canada: @jigsawcasting
Production Manager: @okun.powe
DIT: @kellyfennig
1st AC: @soupy74
Gaffer: @chrisrumak
Key Grip: @idryden
Wardrobe Stylist: Tanus Lewis
Hair & Makeup: @shanniereynolds
Editor: @instagrahamchisholm @nimiopere
Colour: @simone_grattarola_colour @timebasedarts
VFX: @untold_studios
Sound Design & Mix: @starecrazy
.
Mini LF & ASC Todd-AO @keslowcamera @the__asc
@artistry.agency

“The Embrace” Canadian Blood Services
Director: @ballztopia
Production: @opcproduction
Producer: @kino_usvit
Executive Producer: @harlandweiss
Service Company: @filmgroup.tv
DoP: @davidfoulkes_
Production Designer: @jocarkner
Choreographer: @scruffyjester
1st AD: @nathan.valente
Casting Director US: @ryanlagod
Casting Director Canada: @jigsawcasting
Production Manager: @okun.powe
DIT: @kellyfennig
1st AC: @soupy74
Gaffer: @chrisrumak
Key Grip: @idryden
Wardrobe Stylist: Tanus Lewis
Hair & Makeup: @shanniereynolds
Editor: @instagrahamchisholm @nimiopere
Colour: @simone_grattarola_colour @timebasedarts
VFX: @untold_studios
Sound Design & Mix: @starecrazy
.
Mini LF & ASC Todd-AO @keslowcamera @the__asc
@artistry.agency

“The Embrace” Canadian Blood Services
Director: @ballztopia
Production: @opcproduction
Producer: @kino_usvit
Executive Producer: @harlandweiss
Service Company: @filmgroup.tv
DoP: @davidfoulkes_
Production Designer: @jocarkner
Choreographer: @scruffyjester
1st AD: @nathan.valente
Casting Director US: @ryanlagod
Casting Director Canada: @jigsawcasting
Production Manager: @okun.powe
DIT: @kellyfennig
1st AC: @soupy74
Gaffer: @chrisrumak
Key Grip: @idryden
Wardrobe Stylist: Tanus Lewis
Hair & Makeup: @shanniereynolds
Editor: @instagrahamchisholm @nimiopere
Colour: @simone_grattarola_colour @timebasedarts
VFX: @untold_studios
Sound Design & Mix: @starecrazy
.
Mini LF & ASC Todd-AO @keslowcamera @the__asc
@artistry.agency

“The Embrace” Canadian Blood Services
Director: @ballztopia
Production: @opcproduction
Producer: @kino_usvit
Executive Producer: @harlandweiss
Service Company: @filmgroup.tv
DoP: @davidfoulkes_
Production Designer: @jocarkner
Choreographer: @scruffyjester
1st AD: @nathan.valente
Casting Director US: @ryanlagod
Casting Director Canada: @jigsawcasting
Production Manager: @okun.powe
DIT: @kellyfennig
1st AC: @soupy74
Gaffer: @chrisrumak
Key Grip: @idryden
Wardrobe Stylist: Tanus Lewis
Hair & Makeup: @shanniereynolds
Editor: @instagrahamchisholm @nimiopere
Colour: @simone_grattarola_colour @timebasedarts
VFX: @untold_studios
Sound Design & Mix: @starecrazy
.
Mini LF & ASC Todd-AO @keslowcamera @the__asc
@artistry.agency

“The Embrace” Canadian Blood Services
Director: @ballztopia
Production: @opcproduction
Producer: @kino_usvit
Executive Producer: @harlandweiss
Service Company: @filmgroup.tv
DoP: @davidfoulkes_
Production Designer: @jocarkner
Choreographer: @scruffyjester
1st AD: @nathan.valente
Casting Director US: @ryanlagod
Casting Director Canada: @jigsawcasting
Production Manager: @okun.powe
DIT: @kellyfennig
1st AC: @soupy74
Gaffer: @chrisrumak
Key Grip: @idryden
Wardrobe Stylist: Tanus Lewis
Hair & Makeup: @shanniereynolds
Editor: @instagrahamchisholm @nimiopere
Colour: @simone_grattarola_colour @timebasedarts
VFX: @untold_studios
Sound Design & Mix: @starecrazy
.
Mini LF & ASC Todd-AO @keslowcamera @the__asc
@artistry.agency

“The Embrace” Canadian Blood Services
Director: @ballztopia
Production: @opcproduction
Producer: @kino_usvit
Executive Producer: @harlandweiss
Service Company: @filmgroup.tv
DoP: @davidfoulkes_
Production Designer: @jocarkner
Choreographer: @scruffyjester
1st AD: @nathan.valente
Casting Director US: @ryanlagod
Casting Director Canada: @jigsawcasting
Production Manager: @okun.powe
DIT: @kellyfennig
1st AC: @soupy74
Gaffer: @chrisrumak
Key Grip: @idryden
Wardrobe Stylist: Tanus Lewis
Hair & Makeup: @shanniereynolds
Editor: @instagrahamchisholm @nimiopere
Colour: @simone_grattarola_colour @timebasedarts
VFX: @untold_studios
Sound Design & Mix: @starecrazy
.
Mini LF & ASC Todd-AO @keslowcamera @the__asc
@artistry.agency

“The Embrace” Canadian Blood Services
Director: @ballztopia
Production: @opcproduction
Producer: @kino_usvit
Executive Producer: @harlandweiss
Service Company: @filmgroup.tv
DoP: @davidfoulkes_
Production Designer: @jocarkner
Choreographer: @scruffyjester
1st AD: @nathan.valente
Casting Director US: @ryanlagod
Casting Director Canada: @jigsawcasting
Production Manager: @okun.powe
DIT: @kellyfennig
1st AC: @soupy74
Gaffer: @chrisrumak
Key Grip: @idryden
Wardrobe Stylist: Tanus Lewis
Hair & Makeup: @shanniereynolds
Editor: @instagrahamchisholm @nimiopere
Colour: @simone_grattarola_colour @timebasedarts
VFX: @untold_studios
Sound Design & Mix: @starecrazy
.
Mini LF & ASC Todd-AO @keslowcamera @the__asc
@artistry.agency

“The Embrace” Canadian Blood Services
Director: @ballztopia
Production: @opcproduction
Producer: @kino_usvit
Executive Producer: @harlandweiss
Service Company: @filmgroup.tv
DoP: @davidfoulkes_
Production Designer: @jocarkner
Choreographer: @scruffyjester
1st AD: @nathan.valente
Casting Director US: @ryanlagod
Casting Director Canada: @jigsawcasting
Production Manager: @okun.powe
DIT: @kellyfennig
1st AC: @soupy74
Gaffer: @chrisrumak
Key Grip: @idryden
Wardrobe Stylist: Tanus Lewis
Hair & Makeup: @shanniereynolds
Editor: @instagrahamchisholm @nimiopere
Colour: @simone_grattarola_colour @timebasedarts
VFX: @untold_studios
Sound Design & Mix: @starecrazy
.
Mini LF & ASC Todd-AO @keslowcamera @the__asc
@artistry.agency

“The Embrace” Canadian Blood Services
Director: @ballztopia
Production: @opcproduction
Producer: @kino_usvit
Executive Producer: @harlandweiss
Service Company: @filmgroup.tv
DoP: @davidfoulkes_
Production Designer: @jocarkner
Choreographer: @scruffyjester
1st AD: @nathan.valente
Casting Director US: @ryanlagod
Casting Director Canada: @jigsawcasting
Production Manager: @okun.powe
DIT: @kellyfennig
1st AC: @soupy74
Gaffer: @chrisrumak
Key Grip: @idryden
Wardrobe Stylist: Tanus Lewis
Hair & Makeup: @shanniereynolds
Editor: @instagrahamchisholm @nimiopere
Colour: @simone_grattarola_colour @timebasedarts
VFX: @untold_studios
Sound Design & Mix: @starecrazy
.
Mini LF & ASC Todd-AO @keslowcamera @the__asc
@artistry.agency

“The Embrace” Canadian Blood Services
Director: @ballztopia
Production: @opcproduction
Producer: @kino_usvit
Executive Producer: @harlandweiss
Service Company: @filmgroup.tv
DoP: @davidfoulkes_
Production Designer: @jocarkner
Choreographer: @scruffyjester
1st AD: @nathan.valente
Casting Director US: @ryanlagod
Casting Director Canada: @jigsawcasting
Production Manager: @okun.powe
DIT: @kellyfennig
1st AC: @soupy74
Gaffer: @chrisrumak
Key Grip: @idryden
Wardrobe Stylist: Tanus Lewis
Hair & Makeup: @shanniereynolds
Editor: @instagrahamchisholm @nimiopere
Colour: @simone_grattarola_colour @timebasedarts
VFX: @untold_studios
Sound Design & Mix: @starecrazy
.
Mini LF & ASC Todd-AO @keslowcamera @the__asc
@artistry.agency

“The Embrace” Canadian Blood Services
Director: @ballztopia
Production: @opcproduction
Producer: @kino_usvit
Executive Producer: @harlandweiss
Service Company: @filmgroup.tv
DoP: @davidfoulkes_
Production Designer: @jocarkner
Choreographer: @scruffyjester
1st AD: @nathan.valente
Casting Director US: @ryanlagod
Casting Director Canada: @jigsawcasting
Production Manager: @okun.powe
DIT: @kellyfennig
1st AC: @soupy74
Gaffer: @chrisrumak
Key Grip: @idryden
Wardrobe Stylist: Tanus Lewis
Hair & Makeup: @shanniereynolds
Editor: @instagrahamchisholm @nimiopere
Colour: @simone_grattarola_colour @timebasedarts
VFX: @untold_studios
Sound Design & Mix: @starecrazy
.
Mini LF & ASC Todd-AO @keslowcamera @the__asc
@artistry.agency

“The Embrace” Canadian Blood Services
Director: @ballztopia
Production: @opcproduction
Producer: @kino_usvit
Executive Producer: @harlandweiss
Service Company: @filmgroup.tv
DoP: @davidfoulkes_
Production Designer: @jocarkner
Choreographer: @scruffyjester
1st AD: @nathan.valente
Casting Director US: @ryanlagod
Casting Director Canada: @jigsawcasting
Production Manager: @okun.powe
DIT: @kellyfennig
1st AC: @soupy74
Gaffer: @chrisrumak
Key Grip: @idryden
Wardrobe Stylist: Tanus Lewis
Hair & Makeup: @shanniereynolds
Editor: @instagrahamchisholm @nimiopere
Colour: @simone_grattarola_colour @timebasedarts
VFX: @untold_studios
Sound Design & Mix: @starecrazy
.
Mini LF & ASC Todd-AO @keslowcamera @the__asc
@artistry.agency

“The Embrace” Canadian Blood Services
Director: @ballztopia
Production: @opcproduction
Producer: @kino_usvit
Executive Producer: @harlandweiss
Service Company: @filmgroup.tv
DoP: @davidfoulkes_
Production Designer: @jocarkner
Choreographer: @scruffyjester
1st AD: @nathan.valente
Casting Director US: @ryanlagod
Casting Director Canada: @jigsawcasting
Production Manager: @okun.powe
DIT: @kellyfennig
1st AC: @soupy74
Gaffer: @chrisrumak
Key Grip: @idryden
Wardrobe Stylist: Tanus Lewis
Hair & Makeup: @shanniereynolds
Editor: @instagrahamchisholm @nimiopere
Colour: @simone_grattarola_colour @timebasedarts
VFX: @untold_studios
Sound Design & Mix: @starecrazy
.
Mini LF & ASC Todd-AO @keslowcamera @the__asc
@artistry.agency

Big things…

𝗞𝗜𝗡𝗢𝗣𝗧𝗜𝗞 𝗧𝗘𝗚𝗘𝗔 𝟵.𝟴𝗺𝗺 - This revolutionary wide-angle lens was one of Stanley Kubrick's favorite lenses, famously used to shoot scenes in A Clockwork Orange (1971) and The Shining (1980); both films photographed by DP John Alcott, BSC.

The TEGEA 9.8mm T2.3 (f/1.8) is one of the widest rectilinear lenses ever made. This lens shows no distortion, which is amazing considering its age and extreme wide field of view.

The lens was originally designed for the 35mm format but easily covers super 35. Now revived through the efforts of @ancientoptics in collaboration with @zerooptik , this iconic lens is ready to be rediscovered by a new generation of filmmakers.

It is sharp with minimal flaring when bright point light sources are present. Contrast and flares become more controlled when stopped down. The lens shows virtually no focus breathing, and Zero Optik improved the close focus to just an inch away from the front element.

It's construction features nine elements in six groups with sophisticated aspherical elements and exotic rare materials like lanthanum and fluorite glass.

It pairs well with many vintage lenses like Kowa Prominars, Cooke Panchros, Zeiss Super Speeds, Super Baltars, Canon Rangefinders, and many more.

You can compare the KINOPTIK TEGEA side by side at different T-stops to over 120 lens sets in our CINEFLARES PRO lens library.

𝗞𝗜𝗡𝗢𝗣𝗧𝗜𝗞 𝗧𝗘𝗚𝗘𝗔 𝟵.𝟴𝗺𝗺 - This revolutionary wide-angle lens was one of Stanley Kubrick's favorite lenses, famously used to shoot scenes in A Clockwork Orange (1971) and The Shining (1980); both films photographed by DP John Alcott, BSC.

The TEGEA 9.8mm T2.3 (f/1.8) is one of the widest rectilinear lenses ever made. This lens shows no distortion, which is amazing considering its age and extreme wide field of view.

The lens was originally designed for the 35mm format but easily covers super 35. Now revived through the efforts of @ancientoptics in collaboration with @zerooptik , this iconic lens is ready to be rediscovered by a new generation of filmmakers.

It is sharp with minimal flaring when bright point light sources are present. Contrast and flares become more controlled when stopped down. The lens shows virtually no focus breathing, and Zero Optik improved the close focus to just an inch away from the front element.

It's construction features nine elements in six groups with sophisticated aspherical elements and exotic rare materials like lanthanum and fluorite glass.

It pairs well with many vintage lenses like Kowa Prominars, Cooke Panchros, Zeiss Super Speeds, Super Baltars, Canon Rangefinders, and many more.

You can compare the KINOPTIK TEGEA side by side at different T-stops to over 120 lens sets in our CINEFLARES PRO lens library.

𝗞𝗜𝗡𝗢𝗣𝗧𝗜𝗞 𝗧𝗘𝗚𝗘𝗔 𝟵.𝟴𝗺𝗺 - This revolutionary wide-angle lens was one of Stanley Kubrick's favorite lenses, famously used to shoot scenes in A Clockwork Orange (1971) and The Shining (1980); both films photographed by DP John Alcott, BSC.

The TEGEA 9.8mm T2.3 (f/1.8) is one of the widest rectilinear lenses ever made. This lens shows no distortion, which is amazing considering its age and extreme wide field of view.

The lens was originally designed for the 35mm format but easily covers super 35. Now revived through the efforts of @ancientoptics in collaboration with @zerooptik , this iconic lens is ready to be rediscovered by a new generation of filmmakers.

It is sharp with minimal flaring when bright point light sources are present. Contrast and flares become more controlled when stopped down. The lens shows virtually no focus breathing, and Zero Optik improved the close focus to just an inch away from the front element.

It's construction features nine elements in six groups with sophisticated aspherical elements and exotic rare materials like lanthanum and fluorite glass.

It pairs well with many vintage lenses like Kowa Prominars, Cooke Panchros, Zeiss Super Speeds, Super Baltars, Canon Rangefinders, and many more.

You can compare the KINOPTIK TEGEA side by side at different T-stops to over 120 lens sets in our CINEFLARES PRO lens library.

𝗞𝗜𝗡𝗢𝗣𝗧𝗜𝗞 𝗧𝗘𝗚𝗘𝗔 𝟵.𝟴𝗺𝗺 - This revolutionary wide-angle lens was one of Stanley Kubrick's favorite lenses, famously used to shoot scenes in A Clockwork Orange (1971) and The Shining (1980); both films photographed by DP John Alcott, BSC.

The TEGEA 9.8mm T2.3 (f/1.8) is one of the widest rectilinear lenses ever made. This lens shows no distortion, which is amazing considering its age and extreme wide field of view.

The lens was originally designed for the 35mm format but easily covers super 35. Now revived through the efforts of @ancientoptics in collaboration with @zerooptik , this iconic lens is ready to be rediscovered by a new generation of filmmakers.

It is sharp with minimal flaring when bright point light sources are present. Contrast and flares become more controlled when stopped down. The lens shows virtually no focus breathing, and Zero Optik improved the close focus to just an inch away from the front element.

It's construction features nine elements in six groups with sophisticated aspherical elements and exotic rare materials like lanthanum and fluorite glass.

It pairs well with many vintage lenses like Kowa Prominars, Cooke Panchros, Zeiss Super Speeds, Super Baltars, Canon Rangefinders, and many more.

You can compare the KINOPTIK TEGEA side by side at different T-stops to over 120 lens sets in our CINEFLARES PRO lens library.

𝗞𝗜𝗡𝗢𝗣𝗧𝗜𝗞 𝗧𝗘𝗚𝗘𝗔 𝟵.𝟴𝗺𝗺 - This revolutionary wide-angle lens was one of Stanley Kubrick's favorite lenses, famously used to shoot scenes in A Clockwork Orange (1971) and The Shining (1980); both films photographed by DP John Alcott, BSC.

The TEGEA 9.8mm T2.3 (f/1.8) is one of the widest rectilinear lenses ever made. This lens shows no distortion, which is amazing considering its age and extreme wide field of view.

The lens was originally designed for the 35mm format but easily covers super 35. Now revived through the efforts of @ancientoptics in collaboration with @zerooptik , this iconic lens is ready to be rediscovered by a new generation of filmmakers.

It is sharp with minimal flaring when bright point light sources are present. Contrast and flares become more controlled when stopped down. The lens shows virtually no focus breathing, and Zero Optik improved the close focus to just an inch away from the front element.

It's construction features nine elements in six groups with sophisticated aspherical elements and exotic rare materials like lanthanum and fluorite glass.

It pairs well with many vintage lenses like Kowa Prominars, Cooke Panchros, Zeiss Super Speeds, Super Baltars, Canon Rangefinders, and many more.

You can compare the KINOPTIK TEGEA side by side at different T-stops to over 120 lens sets in our CINEFLARES PRO lens library.

Zero Optik has worked on some truly rare lenses over the years, but these unicorns are almost always remarkable because of their extreme age or cost. This Zenitar 35mm f/1.0 is a completely modern piece of optical engineering, announced in 2018 as part of a partnership between Leica Camera and Russian brand Zenit to bring an affordable rangefinder kit to market, but was only available for a few short years before Russia invaded Ukraine and was shut out of trade with the West for its ongoing violence in the region.

Only a handful of these lenses have come up for sale since and @joelhoneywell was the first of our clients to see its potential for cinematography. The performance and character are reminiscent of the old f/1.0 Noctilux-M 50mm, despite the vast difference in age, and it features 11” minimum focus once rehoused, making it extremely versatile for all kinds of jobs.

This is a very limited project because of the scarcity of the optics, so we don’t have finished lenses for sale. Depending on when you read this, however, @lenssommelier may have one or two spares that can be brought to Zero Optik for rehousing. Anyone interested should contact him directly for more information.

Zero Optik has worked on some truly rare lenses over the years, but these unicorns are almost always remarkable because of their extreme age or cost. This Zenitar 35mm f/1.0 is a completely modern piece of optical engineering, announced in 2018 as part of a partnership between Leica Camera and Russian brand Zenit to bring an affordable rangefinder kit to market, but was only available for a few short years before Russia invaded Ukraine and was shut out of trade with the West for its ongoing violence in the region.

Only a handful of these lenses have come up for sale since and @joelhoneywell was the first of our clients to see its potential for cinematography. The performance and character are reminiscent of the old f/1.0 Noctilux-M 50mm, despite the vast difference in age, and it features 11” minimum focus once rehoused, making it extremely versatile for all kinds of jobs.

This is a very limited project because of the scarcity of the optics, so we don’t have finished lenses for sale. Depending on when you read this, however, @lenssommelier may have one or two spares that can be brought to Zero Optik for rehousing. Anyone interested should contact him directly for more information.

Zero Optik has worked on some truly rare lenses over the years, but these unicorns are almost always remarkable because of their extreme age or cost. This Zenitar 35mm f/1.0 is a completely modern piece of optical engineering, announced in 2018 as part of a partnership between Leica Camera and Russian brand Zenit to bring an affordable rangefinder kit to market, but was only available for a few short years before Russia invaded Ukraine and was shut out of trade with the West for its ongoing violence in the region.

Only a handful of these lenses have come up for sale since and @joelhoneywell was the first of our clients to see its potential for cinematography. The performance and character are reminiscent of the old f/1.0 Noctilux-M 50mm, despite the vast difference in age, and it features 11” minimum focus once rehoused, making it extremely versatile for all kinds of jobs.

This is a very limited project because of the scarcity of the optics, so we don’t have finished lenses for sale. Depending on when you read this, however, @lenssommelier may have one or two spares that can be brought to Zero Optik for rehousing. Anyone interested should contact him directly for more information.

#TBT to the official unveiling event for the ASC Todd-AO 65mm Primes at the ASC Clubhouse!

@the__asc

#ICYMI, the ASC Todd-AO 65mm Primes reflect years of hard work and perfectionism, resulting in one of the rarest sets of cinema lenses in existence. Rehoused by Alex Nelson (@ahncinema) at @zerooptik and tuned to perfection by Greig Fraser, ACS, ASC (@greigfraser_dp), the project preserves the lenses’ vintage character while adapting them for today’s digital workflows. The first to use them was Christian Sprenger, ASC (@casprenger), for Apple TV’s WIDOW'S BAY (Proudly supported by Keslow Camera.)

“They have this painterly quality that you hope your lenses will have, but most of the time they don’t... They all have good close focus, something that Alex always does so fantastically with his rehousing. The size and form factor of the lenses are also great. We put these lenses through everything: in splash bags, on a Ronin, crazy handheld chasing actors down steep slopes... We didn’t treat them any differently than any other lens, and they have such an elegance to them." - Christian Sprenger, ASC (Excerpt from American Cinematographer November 2025 [Feature by Jay Holben (@jayholben)])

Originally developed in the 1950s for Oklahoma! and other 65mm epics, the Todd-AO lenses helped define the widescreen era of Hollywood. Now, they're ready to redefine the modern cinematography landscape, exclusively at Keslow Camera.

Alongside Shelly Johnson, ASC (@shellyjohnsonasc), we were thrilled to have our own Brad Wilson [@1bradwilson] (VP, Business Development) join a fantastic panel discussing these unique lenses and the process of bringing them to life, featuring ASC members Steve Gainer (@stevegainer_asc), Richard Edlund, and Christian Sprenger, with key insights from Alex Nelson at Zero Optik.

Learn more about this one-of-a-kind set of 65mm-format cinema lenses for your next project at the link in our bio.

@american_cinematographer

#TBT to the official unveiling event for the ASC Todd-AO 65mm Primes at the ASC Clubhouse!

@the__asc

#ICYMI, the ASC Todd-AO 65mm Primes reflect years of hard work and perfectionism, resulting in one of the rarest sets of cinema lenses in existence. Rehoused by Alex Nelson (@ahncinema) at @zerooptik and tuned to perfection by Greig Fraser, ACS, ASC (@greigfraser_dp), the project preserves the lenses’ vintage character while adapting them for today’s digital workflows. The first to use them was Christian Sprenger, ASC (@casprenger), for Apple TV’s WIDOW'S BAY (Proudly supported by Keslow Camera.)

“They have this painterly quality that you hope your lenses will have, but most of the time they don’t... They all have good close focus, something that Alex always does so fantastically with his rehousing. The size and form factor of the lenses are also great. We put these lenses through everything: in splash bags, on a Ronin, crazy handheld chasing actors down steep slopes... We didn’t treat them any differently than any other lens, and they have such an elegance to them." - Christian Sprenger, ASC (Excerpt from American Cinematographer November 2025 [Feature by Jay Holben (@jayholben)])

Originally developed in the 1950s for Oklahoma! and other 65mm epics, the Todd-AO lenses helped define the widescreen era of Hollywood. Now, they're ready to redefine the modern cinematography landscape, exclusively at Keslow Camera.

Alongside Shelly Johnson, ASC (@shellyjohnsonasc), we were thrilled to have our own Brad Wilson [@1bradwilson] (VP, Business Development) join a fantastic panel discussing these unique lenses and the process of bringing them to life, featuring ASC members Steve Gainer (@stevegainer_asc), Richard Edlund, and Christian Sprenger, with key insights from Alex Nelson at Zero Optik.

Learn more about this one-of-a-kind set of 65mm-format cinema lenses for your next project at the link in our bio.

@american_cinematographer

#TBT to the official unveiling event for the ASC Todd-AO 65mm Primes at the ASC Clubhouse!

@the__asc

#ICYMI, the ASC Todd-AO 65mm Primes reflect years of hard work and perfectionism, resulting in one of the rarest sets of cinema lenses in existence. Rehoused by Alex Nelson (@ahncinema) at @zerooptik and tuned to perfection by Greig Fraser, ACS, ASC (@greigfraser_dp), the project preserves the lenses’ vintage character while adapting them for today’s digital workflows. The first to use them was Christian Sprenger, ASC (@casprenger), for Apple TV’s WIDOW'S BAY (Proudly supported by Keslow Camera.)

“They have this painterly quality that you hope your lenses will have, but most of the time they don’t... They all have good close focus, something that Alex always does so fantastically with his rehousing. The size and form factor of the lenses are also great. We put these lenses through everything: in splash bags, on a Ronin, crazy handheld chasing actors down steep slopes... We didn’t treat them any differently than any other lens, and they have such an elegance to them." - Christian Sprenger, ASC (Excerpt from American Cinematographer November 2025 [Feature by Jay Holben (@jayholben)])

Originally developed in the 1950s for Oklahoma! and other 65mm epics, the Todd-AO lenses helped define the widescreen era of Hollywood. Now, they're ready to redefine the modern cinematography landscape, exclusively at Keslow Camera.

Alongside Shelly Johnson, ASC (@shellyjohnsonasc), we were thrilled to have our own Brad Wilson [@1bradwilson] (VP, Business Development) join a fantastic panel discussing these unique lenses and the process of bringing them to life, featuring ASC members Steve Gainer (@stevegainer_asc), Richard Edlund, and Christian Sprenger, with key insights from Alex Nelson at Zero Optik.

Learn more about this one-of-a-kind set of 65mm-format cinema lenses for your next project at the link in our bio.

@american_cinematographer

#TBT to the official unveiling event for the ASC Todd-AO 65mm Primes at the ASC Clubhouse!

@the__asc

#ICYMI, the ASC Todd-AO 65mm Primes reflect years of hard work and perfectionism, resulting in one of the rarest sets of cinema lenses in existence. Rehoused by Alex Nelson (@ahncinema) at @zerooptik and tuned to perfection by Greig Fraser, ACS, ASC (@greigfraser_dp), the project preserves the lenses’ vintage character while adapting them for today’s digital workflows. The first to use them was Christian Sprenger, ASC (@casprenger), for Apple TV’s WIDOW'S BAY (Proudly supported by Keslow Camera.)

“They have this painterly quality that you hope your lenses will have, but most of the time they don’t... They all have good close focus, something that Alex always does so fantastically with his rehousing. The size and form factor of the lenses are also great. We put these lenses through everything: in splash bags, on a Ronin, crazy handheld chasing actors down steep slopes... We didn’t treat them any differently than any other lens, and they have such an elegance to them." - Christian Sprenger, ASC (Excerpt from American Cinematographer November 2025 [Feature by Jay Holben (@jayholben)])

Originally developed in the 1950s for Oklahoma! and other 65mm epics, the Todd-AO lenses helped define the widescreen era of Hollywood. Now, they're ready to redefine the modern cinematography landscape, exclusively at Keslow Camera.

Alongside Shelly Johnson, ASC (@shellyjohnsonasc), we were thrilled to have our own Brad Wilson [@1bradwilson] (VP, Business Development) join a fantastic panel discussing these unique lenses and the process of bringing them to life, featuring ASC members Steve Gainer (@stevegainer_asc), Richard Edlund, and Christian Sprenger, with key insights from Alex Nelson at Zero Optik.

Learn more about this one-of-a-kind set of 65mm-format cinema lenses for your next project at the link in our bio.

@american_cinematographer

#TBT to the official unveiling event for the ASC Todd-AO 65mm Primes at the ASC Clubhouse!

@the__asc

#ICYMI, the ASC Todd-AO 65mm Primes reflect years of hard work and perfectionism, resulting in one of the rarest sets of cinema lenses in existence. Rehoused by Alex Nelson (@ahncinema) at @zerooptik and tuned to perfection by Greig Fraser, ACS, ASC (@greigfraser_dp), the project preserves the lenses’ vintage character while adapting them for today’s digital workflows. The first to use them was Christian Sprenger, ASC (@casprenger), for Apple TV’s WIDOW'S BAY (Proudly supported by Keslow Camera.)

“They have this painterly quality that you hope your lenses will have, but most of the time they don’t... They all have good close focus, something that Alex always does so fantastically with his rehousing. The size and form factor of the lenses are also great. We put these lenses through everything: in splash bags, on a Ronin, crazy handheld chasing actors down steep slopes... We didn’t treat them any differently than any other lens, and they have such an elegance to them." - Christian Sprenger, ASC (Excerpt from American Cinematographer November 2025 [Feature by Jay Holben (@jayholben)])

Originally developed in the 1950s for Oklahoma! and other 65mm epics, the Todd-AO lenses helped define the widescreen era of Hollywood. Now, they're ready to redefine the modern cinematography landscape, exclusively at Keslow Camera.

Alongside Shelly Johnson, ASC (@shellyjohnsonasc), we were thrilled to have our own Brad Wilson [@1bradwilson] (VP, Business Development) join a fantastic panel discussing these unique lenses and the process of bringing them to life, featuring ASC members Steve Gainer (@stevegainer_asc), Richard Edlund, and Christian Sprenger, with key insights from Alex Nelson at Zero Optik.

Learn more about this one-of-a-kind set of 65mm-format cinema lenses for your next project at the link in our bio.

@american_cinematographer

#TBT to the official unveiling event for the ASC Todd-AO 65mm Primes at the ASC Clubhouse!

@the__asc

#ICYMI, the ASC Todd-AO 65mm Primes reflect years of hard work and perfectionism, resulting in one of the rarest sets of cinema lenses in existence. Rehoused by Alex Nelson (@ahncinema) at @zerooptik and tuned to perfection by Greig Fraser, ACS, ASC (@greigfraser_dp), the project preserves the lenses’ vintage character while adapting them for today’s digital workflows. The first to use them was Christian Sprenger, ASC (@casprenger), for Apple TV’s WIDOW'S BAY (Proudly supported by Keslow Camera.)

“They have this painterly quality that you hope your lenses will have, but most of the time they don’t... They all have good close focus, something that Alex always does so fantastically with his rehousing. The size and form factor of the lenses are also great. We put these lenses through everything: in splash bags, on a Ronin, crazy handheld chasing actors down steep slopes... We didn’t treat them any differently than any other lens, and they have such an elegance to them." - Christian Sprenger, ASC (Excerpt from American Cinematographer November 2025 [Feature by Jay Holben (@jayholben)])

Originally developed in the 1950s for Oklahoma! and other 65mm epics, the Todd-AO lenses helped define the widescreen era of Hollywood. Now, they're ready to redefine the modern cinematography landscape, exclusively at Keslow Camera.

Alongside Shelly Johnson, ASC (@shellyjohnsonasc), we were thrilled to have our own Brad Wilson [@1bradwilson] (VP, Business Development) join a fantastic panel discussing these unique lenses and the process of bringing them to life, featuring ASC members Steve Gainer (@stevegainer_asc), Richard Edlund, and Christian Sprenger, with key insights from Alex Nelson at Zero Optik.

Learn more about this one-of-a-kind set of 65mm-format cinema lenses for your next project at the link in our bio.

@american_cinematographer

#TBT to the official unveiling event for the ASC Todd-AO 65mm Primes at the ASC Clubhouse!

@the__asc

#ICYMI, the ASC Todd-AO 65mm Primes reflect years of hard work and perfectionism, resulting in one of the rarest sets of cinema lenses in existence. Rehoused by Alex Nelson (@ahncinema) at @zerooptik and tuned to perfection by Greig Fraser, ACS, ASC (@greigfraser_dp), the project preserves the lenses’ vintage character while adapting them for today’s digital workflows. The first to use them was Christian Sprenger, ASC (@casprenger), for Apple TV’s WIDOW'S BAY (Proudly supported by Keslow Camera.)

“They have this painterly quality that you hope your lenses will have, but most of the time they don’t... They all have good close focus, something that Alex always does so fantastically with his rehousing. The size and form factor of the lenses are also great. We put these lenses through everything: in splash bags, on a Ronin, crazy handheld chasing actors down steep slopes... We didn’t treat them any differently than any other lens, and they have such an elegance to them." - Christian Sprenger, ASC (Excerpt from American Cinematographer November 2025 [Feature by Jay Holben (@jayholben)])

Originally developed in the 1950s for Oklahoma! and other 65mm epics, the Todd-AO lenses helped define the widescreen era of Hollywood. Now, they're ready to redefine the modern cinematography landscape, exclusively at Keslow Camera.

Alongside Shelly Johnson, ASC (@shellyjohnsonasc), we were thrilled to have our own Brad Wilson [@1bradwilson] (VP, Business Development) join a fantastic panel discussing these unique lenses and the process of bringing them to life, featuring ASC members Steve Gainer (@stevegainer_asc), Richard Edlund, and Christian Sprenger, with key insights from Alex Nelson at Zero Optik.

Learn more about this one-of-a-kind set of 65mm-format cinema lenses for your next project at the link in our bio.

@american_cinematographer

#TBT to the official unveiling event for the ASC Todd-AO 65mm Primes at the ASC Clubhouse!

@the__asc

#ICYMI, the ASC Todd-AO 65mm Primes reflect years of hard work and perfectionism, resulting in one of the rarest sets of cinema lenses in existence. Rehoused by Alex Nelson (@ahncinema) at @zerooptik and tuned to perfection by Greig Fraser, ACS, ASC (@greigfraser_dp), the project preserves the lenses’ vintage character while adapting them for today’s digital workflows. The first to use them was Christian Sprenger, ASC (@casprenger), for Apple TV’s WIDOW'S BAY (Proudly supported by Keslow Camera.)

“They have this painterly quality that you hope your lenses will have, but most of the time they don’t... They all have good close focus, something that Alex always does so fantastically with his rehousing. The size and form factor of the lenses are also great. We put these lenses through everything: in splash bags, on a Ronin, crazy handheld chasing actors down steep slopes... We didn’t treat them any differently than any other lens, and they have such an elegance to them." - Christian Sprenger, ASC (Excerpt from American Cinematographer November 2025 [Feature by Jay Holben (@jayholben)])

Originally developed in the 1950s for Oklahoma! and other 65mm epics, the Todd-AO lenses helped define the widescreen era of Hollywood. Now, they're ready to redefine the modern cinematography landscape, exclusively at Keslow Camera.

Alongside Shelly Johnson, ASC (@shellyjohnsonasc), we were thrilled to have our own Brad Wilson [@1bradwilson] (VP, Business Development) join a fantastic panel discussing these unique lenses and the process of bringing them to life, featuring ASC members Steve Gainer (@stevegainer_asc), Richard Edlund, and Christian Sprenger, with key insights from Alex Nelson at Zero Optik.

Learn more about this one-of-a-kind set of 65mm-format cinema lenses for your next project at the link in our bio.

@american_cinematographer

On this music video, we’re building our flashback language using restored 1950s Todd-AO lenses from the Zero Optik collaboration with the ASC and @keslowcamera. These 65mm lenses, once left in storage for decades, have been meticulously brought back to life, carrying with them the visual DNA of films like The Sound of Music, Oklahoma!, Patton, Around the World in 80 Days, and Cleopatra.

What makes them special isn’t just the history, it’s the way they render the image. Softer contrast. Organic falloff at the edges. A subtle texture that pulls the sharpness out of modern sensors.

Paired with the URSA Cine 12K LF, this glass becomes a tool for storytelling, taking the clinical precision of digital and shaping it into something more dimensional, more emotional, more human. For our flashbacks, that shift in texture becomes the language of memory.

We’re working with a full set—18, 28, 40, 50, the 55 “double nickel,” 60, 80, and a beautiful 135. There’s a reason cinematographers continue to return to vintage optics. It’s not nostalgia—it’s intention. The imperfections create identity. They give the image a point of view.

Keslow Camera has built an incredible collection of vintage glass. If you haven’t explored vintage glass, start testing. Push beyond the default look. You may find an entirely new visual language waiting for your next project.

Filmmakers Academy members unlock preferred pricing on Keslow Camera rental packages.
Head to the Member Resources page to learn more.

#cinematography #filmmaker #filmmaking #lenses #cinematographer

NEW GEAR! Our widest lens available for the 65mm format - introducing the new @zerooptik Canon+ 10mm T3.7. This lens covers @arri ALEXA 265 and 65 Open Gate, @fujifilmx_us GFX Eterna 55, and @blackmagicnewsofficial Ursa Cine 17K 65. The lens is sharp wide open, and aberrations are well controlled, but it still has some lovely character, with more falloff, and beautiful lens flares you expect from vintage lenses.

The lens features Zero Optik’s new “Name Tag” lens mount, which usesa new subset of the Cooke i/ Technology system and transmits lens identifying information to the camera including: focal length, max T-stop, serial number, manufacturer, and product family.

Reach out for rentals or to test. Test footage coming soon!

#oldfastglass #vintagelenses #rehousedlenses #zerooptik #canonfd

NEW GEAR! Our widest lens available for the 65mm format - introducing the new @zerooptik Canon+ 10mm T3.7. This lens covers @arri ALEXA 265 and 65 Open Gate, @fujifilmx_us GFX Eterna 55, and @blackmagicnewsofficial Ursa Cine 17K 65. The lens is sharp wide open, and aberrations are well controlled, but it still has some lovely character, with more falloff, and beautiful lens flares you expect from vintage lenses.

The lens features Zero Optik’s new “Name Tag” lens mount, which usesa new subset of the Cooke i/ Technology system and transmits lens identifying information to the camera including: focal length, max T-stop, serial number, manufacturer, and product family.

Reach out for rentals or to test. Test footage coming soon!

#oldfastglass #vintagelenses #rehousedlenses #zerooptik #canonfd

NEW GEAR! Our widest lens available for the 65mm format - introducing the new @zerooptik Canon+ 10mm T3.7. This lens covers @arri ALEXA 265 and 65 Open Gate, @fujifilmx_us GFX Eterna 55, and @blackmagicnewsofficial Ursa Cine 17K 65. The lens is sharp wide open, and aberrations are well controlled, but it still has some lovely character, with more falloff, and beautiful lens flares you expect from vintage lenses.

The lens features Zero Optik’s new “Name Tag” lens mount, which usesa new subset of the Cooke i/ Technology system and transmits lens identifying information to the camera including: focal length, max T-stop, serial number, manufacturer, and product family.

Reach out for rentals or to test. Test footage coming soon!

#oldfastglass #vintagelenses #rehousedlenses #zerooptik #canonfd

NEW GEAR! Our widest lens available for the 65mm format - introducing the new @zerooptik Canon+ 10mm T3.7. This lens covers @arri ALEXA 265 and 65 Open Gate, @fujifilmx_us GFX Eterna 55, and @blackmagicnewsofficial Ursa Cine 17K 65. The lens is sharp wide open, and aberrations are well controlled, but it still has some lovely character, with more falloff, and beautiful lens flares you expect from vintage lenses.

The lens features Zero Optik’s new “Name Tag” lens mount, which usesa new subset of the Cooke i/ Technology system and transmits lens identifying information to the camera including: focal length, max T-stop, serial number, manufacturer, and product family.

Reach out for rentals or to test. Test footage coming soon!

#oldfastglass #vintagelenses #rehousedlenses #zerooptik #canonfd

NEW GEAR! Our widest lens available for the 65mm format - introducing the new @zerooptik Canon+ 10mm T3.7. This lens covers @arri ALEXA 265 and 65 Open Gate, @fujifilmx_us GFX Eterna 55, and @blackmagicnewsofficial Ursa Cine 17K 65. The lens is sharp wide open, and aberrations are well controlled, but it still has some lovely character, with more falloff, and beautiful lens flares you expect from vintage lenses.

The lens features Zero Optik’s new “Name Tag” lens mount, which usesa new subset of the Cooke i/ Technology system and transmits lens identifying information to the camera including: focal length, max T-stop, serial number, manufacturer, and product family.

Reach out for rentals or to test. Test footage coming soon!

#oldfastglass #vintagelenses #rehousedlenses #zerooptik #canonfd

NEW GEAR! Our widest lens available for the 65mm format - introducing the new @zerooptik Canon+ 10mm T3.7. This lens covers @arri ALEXA 265 and 65 Open Gate, @fujifilmx_us GFX Eterna 55, and @blackmagicnewsofficial Ursa Cine 17K 65. The lens is sharp wide open, and aberrations are well controlled, but it still has some lovely character, with more falloff, and beautiful lens flares you expect from vintage lenses.

The lens features Zero Optik’s new “Name Tag” lens mount, which usesa new subset of the Cooke i/ Technology system and transmits lens identifying information to the camera including: focal length, max T-stop, serial number, manufacturer, and product family.

Reach out for rentals or to test. Test footage coming soon!

#oldfastglass #vintagelenses #rehousedlenses #zerooptik #canonfd

NEW GEAR! Our widest lens available for the 65mm format - introducing the new @zerooptik Canon+ 10mm T3.7. This lens covers @arri ALEXA 265 and 65 Open Gate, @fujifilmx_us GFX Eterna 55, and @blackmagicnewsofficial Ursa Cine 17K 65. The lens is sharp wide open, and aberrations are well controlled, but it still has some lovely character, with more falloff, and beautiful lens flares you expect from vintage lenses.

The lens features Zero Optik’s new “Name Tag” lens mount, which usesa new subset of the Cooke i/ Technology system and transmits lens identifying information to the camera including: focal length, max T-stop, serial number, manufacturer, and product family.

Reach out for rentals or to test. Test footage coming soon!

#oldfastglass #vintagelenses #rehousedlenses #zerooptik #canonfd

NEW GEAR! The TAMASHII 140mm T2.6 has arrived! This is currently the longest focal length in the set, which is now 12 lenses from 18mm to 140mm. The 140mm is sharp wide open, with beautiful textured bokeh, and vintage flare character that modern lenses just can’t replicate. This lens is physically very small for a 140mm prime, and it focuses extremely close. Minimum focus is just 2’ 3” from the sensor plane, which is about 1 to 1.5 feet closer than most lenses in this focal range, and gets you close to macro territory.

TAMASHII primes represent the next chapter in rehoused vintage lenses, and they are the result of a collaboration between @old_fast_glass @zerooptik and @ancientoptics.

We have multiple sets of TAMASHII lenses. Call or email us to set up a lens test or a rental.

#vintagelenses #fullframe #rehousedlenses #oldfastglass #zerooptik

NEW GEAR! The TAMASHII 140mm T2.6 has arrived! This is currently the longest focal length in the set, which is now 12 lenses from 18mm to 140mm. The 140mm is sharp wide open, with beautiful textured bokeh, and vintage flare character that modern lenses just can’t replicate. This lens is physically very small for a 140mm prime, and it focuses extremely close. Minimum focus is just 2’ 3” from the sensor plane, which is about 1 to 1.5 feet closer than most lenses in this focal range, and gets you close to macro territory.

TAMASHII primes represent the next chapter in rehoused vintage lenses, and they are the result of a collaboration between @old_fast_glass @zerooptik and @ancientoptics.

We have multiple sets of TAMASHII lenses. Call or email us to set up a lens test or a rental.

#vintagelenses #fullframe #rehousedlenses #oldfastglass #zerooptik

NEW GEAR! The TAMASHII 140mm T2.6 has arrived! This is currently the longest focal length in the set, which is now 12 lenses from 18mm to 140mm. The 140mm is sharp wide open, with beautiful textured bokeh, and vintage flare character that modern lenses just can’t replicate. This lens is physically very small for a 140mm prime, and it focuses extremely close. Minimum focus is just 2’ 3” from the sensor plane, which is about 1 to 1.5 feet closer than most lenses in this focal range, and gets you close to macro territory.

TAMASHII primes represent the next chapter in rehoused vintage lenses, and they are the result of a collaboration between @old_fast_glass @zerooptik and @ancientoptics.

We have multiple sets of TAMASHII lenses. Call or email us to set up a lens test or a rental.

#vintagelenses #fullframe #rehousedlenses #oldfastglass #zerooptik

NEW GEAR! The TAMASHII 140mm T2.6 has arrived! This is currently the longest focal length in the set, which is now 12 lenses from 18mm to 140mm. The 140mm is sharp wide open, with beautiful textured bokeh, and vintage flare character that modern lenses just can’t replicate. This lens is physically very small for a 140mm prime, and it focuses extremely close. Minimum focus is just 2’ 3” from the sensor plane, which is about 1 to 1.5 feet closer than most lenses in this focal range, and gets you close to macro territory.

TAMASHII primes represent the next chapter in rehoused vintage lenses, and they are the result of a collaboration between @old_fast_glass @zerooptik and @ancientoptics.

We have multiple sets of TAMASHII lenses. Call or email us to set up a lens test or a rental.

#vintagelenses #fullframe #rehousedlenses #oldfastglass #zerooptik

NEW GEAR! The TAMASHII 140mm T2.6 has arrived! This is currently the longest focal length in the set, which is now 12 lenses from 18mm to 140mm. The 140mm is sharp wide open, with beautiful textured bokeh, and vintage flare character that modern lenses just can’t replicate. This lens is physically very small for a 140mm prime, and it focuses extremely close. Minimum focus is just 2’ 3” from the sensor plane, which is about 1 to 1.5 feet closer than most lenses in this focal range, and gets you close to macro territory.

TAMASHII primes represent the next chapter in rehoused vintage lenses, and they are the result of a collaboration between @old_fast_glass @zerooptik and @ancientoptics.

We have multiple sets of TAMASHII lenses. Call or email us to set up a lens test or a rental.

#vintagelenses #fullframe #rehousedlenses #oldfastglass #zerooptik

Zero Optik’s Canon-based 10mm made its debut four years ago as one of the widest rectilinear primes available for full-frame cinematography. With even larger sensors becoming increasingly accessible to filmmakers, we are happy to announce that our 10mm is now available for use with 65-format bodies!

@rawcameraco will be the first to offer these for rental, but existing owners can send their lenses in to be retrofitted quickly for a small fee.

Those traveling to Poland next week for @atmsystem Lens Days will have the opportunity for a special hands-on demo, but if you can’t get to Warsaw, swipe through to get a taste of how this performs on the @fujifilmx_us GFX100ii!

#cinematography #65mm #arri265 #fujieterna #fujigfx

Zero Optik’s Canon-based 10mm made its debut four years ago as one of the widest rectilinear primes available for full-frame cinematography. With even larger sensors becoming increasingly accessible to filmmakers, we are happy to announce that our 10mm is now available for use with 65-format bodies!

@rawcameraco will be the first to offer these for rental, but existing owners can send their lenses in to be retrofitted quickly for a small fee.

Those traveling to Poland next week for @atmsystem Lens Days will have the opportunity for a special hands-on demo, but if you can’t get to Warsaw, swipe through to get a taste of how this performs on the @fujifilmx_us GFX100ii!

#cinematography #65mm #arri265 #fujieterna #fujigfx

Zero Optik’s Canon-based 10mm made its debut four years ago as one of the widest rectilinear primes available for full-frame cinematography. With even larger sensors becoming increasingly accessible to filmmakers, we are happy to announce that our 10mm is now available for use with 65-format bodies!

@rawcameraco will be the first to offer these for rental, but existing owners can send their lenses in to be retrofitted quickly for a small fee.

Those traveling to Poland next week for @atmsystem Lens Days will have the opportunity for a special hands-on demo, but if you can’t get to Warsaw, swipe through to get a taste of how this performs on the @fujifilmx_us GFX100ii!

#cinematography #65mm #arri265 #fujieterna #fujigfx

Zero Optik’s Canon-based 10mm made its debut four years ago as one of the widest rectilinear primes available for full-frame cinematography. With even larger sensors becoming increasingly accessible to filmmakers, we are happy to announce that our 10mm is now available for use with 65-format bodies!

@rawcameraco will be the first to offer these for rental, but existing owners can send their lenses in to be retrofitted quickly for a small fee.

Those traveling to Poland next week for @atmsystem Lens Days will have the opportunity for a special hands-on demo, but if you can’t get to Warsaw, swipe through to get a taste of how this performs on the @fujifilmx_us GFX100ii!

#cinematography #65mm #arri265 #fujieterna #fujigfx

Zero Optik’s Canon-based 10mm made its debut four years ago as one of the widest rectilinear primes available for full-frame cinematography. With even larger sensors becoming increasingly accessible to filmmakers, we are happy to announce that our 10mm is now available for use with 65-format bodies!

@rawcameraco will be the first to offer these for rental, but existing owners can send their lenses in to be retrofitted quickly for a small fee.

Those traveling to Poland next week for @atmsystem Lens Days will have the opportunity for a special hands-on demo, but if you can’t get to Warsaw, swipe through to get a taste of how this performs on the @fujifilmx_us GFX100ii!

#cinematography #65mm #arri265 #fujieterna #fujigfx

Zero Optik’s Canon-based 10mm made its debut four years ago as one of the widest rectilinear primes available for full-frame cinematography. With even larger sensors becoming increasingly accessible to filmmakers, we are happy to announce that our 10mm is now available for use with 65-format bodies!

@rawcameraco will be the first to offer these for rental, but existing owners can send their lenses in to be retrofitted quickly for a small fee.

Those traveling to Poland next week for @atmsystem Lens Days will have the opportunity for a special hands-on demo, but if you can’t get to Warsaw, swipe through to get a taste of how this performs on the @fujifilmx_us GFX100ii!

#cinematography #65mm #arri265 #fujieterna #fujigfx

‘Bloom’ - @mollytea_canada
(Get lost in the full Lens Addiction archive — link in bio)
🔎1- LEICA M 50mm T1.0 Zero Optik Rehoused
🔎2- LEICA M 24mm T1.5 Zero Optik Rehoused
🔎3- LEICA M 50mm T1.0 Zero Optik Rehoused
🔎4- LEICA M 75mm T1.4 Zero Optik Rehoused
🔎5- LEICA M 75mm T1.4 Zero Optik Rehoused
🔎6- LEICA M 90mm T1.6 Zero Optik Rehoused
📹 ARRI Alexa Mini LF
Dir. @joonrho
DP. @codywpreston
Production Company. @graynmedia
1st AC. @viktorwallmark
Gaffer. @indiana_wilson_films
Lamp Op. @will.modrovic
Production Designer. @sodamihong
BTS Photographer. @ljmedia.ca
Talent/Artist. Arturo Montejano Herrera
Rentals. @rawcameraco
Lenses. @zerooptik
.
.
#lensaddiction #leicam

‘Bloom’ - @mollytea_canada
(Get lost in the full Lens Addiction archive — link in bio)
🔎1- LEICA M 50mm T1.0 Zero Optik Rehoused
🔎2- LEICA M 24mm T1.5 Zero Optik Rehoused
🔎3- LEICA M 50mm T1.0 Zero Optik Rehoused
🔎4- LEICA M 75mm T1.4 Zero Optik Rehoused
🔎5- LEICA M 75mm T1.4 Zero Optik Rehoused
🔎6- LEICA M 90mm T1.6 Zero Optik Rehoused
📹 ARRI Alexa Mini LF
Dir. @joonrho
DP. @codywpreston
Production Company. @graynmedia
1st AC. @viktorwallmark
Gaffer. @indiana_wilson_films
Lamp Op. @will.modrovic
Production Designer. @sodamihong
BTS Photographer. @ljmedia.ca
Talent/Artist. Arturo Montejano Herrera
Rentals. @rawcameraco
Lenses. @zerooptik
.
.
#lensaddiction #leicam

‘Bloom’ - @mollytea_canada
(Get lost in the full Lens Addiction archive — link in bio)
🔎1- LEICA M 50mm T1.0 Zero Optik Rehoused
🔎2- LEICA M 24mm T1.5 Zero Optik Rehoused
🔎3- LEICA M 50mm T1.0 Zero Optik Rehoused
🔎4- LEICA M 75mm T1.4 Zero Optik Rehoused
🔎5- LEICA M 75mm T1.4 Zero Optik Rehoused
🔎6- LEICA M 90mm T1.6 Zero Optik Rehoused
📹 ARRI Alexa Mini LF
Dir. @joonrho
DP. @codywpreston
Production Company. @graynmedia
1st AC. @viktorwallmark
Gaffer. @indiana_wilson_films
Lamp Op. @will.modrovic
Production Designer. @sodamihong
BTS Photographer. @ljmedia.ca
Talent/Artist. Arturo Montejano Herrera
Rentals. @rawcameraco
Lenses. @zerooptik
.
.
#lensaddiction #leicam

‘Bloom’ - @mollytea_canada
(Get lost in the full Lens Addiction archive — link in bio)
🔎1- LEICA M 50mm T1.0 Zero Optik Rehoused
🔎2- LEICA M 24mm T1.5 Zero Optik Rehoused
🔎3- LEICA M 50mm T1.0 Zero Optik Rehoused
🔎4- LEICA M 75mm T1.4 Zero Optik Rehoused
🔎5- LEICA M 75mm T1.4 Zero Optik Rehoused
🔎6- LEICA M 90mm T1.6 Zero Optik Rehoused
📹 ARRI Alexa Mini LF
Dir. @joonrho
DP. @codywpreston
Production Company. @graynmedia
1st AC. @viktorwallmark
Gaffer. @indiana_wilson_films
Lamp Op. @will.modrovic
Production Designer. @sodamihong
BTS Photographer. @ljmedia.ca
Talent/Artist. Arturo Montejano Herrera
Rentals. @rawcameraco
Lenses. @zerooptik
.
.
#lensaddiction #leicam

‘Bloom’ - @mollytea_canada
(Get lost in the full Lens Addiction archive — link in bio)
🔎1- LEICA M 50mm T1.0 Zero Optik Rehoused
🔎2- LEICA M 24mm T1.5 Zero Optik Rehoused
🔎3- LEICA M 50mm T1.0 Zero Optik Rehoused
🔎4- LEICA M 75mm T1.4 Zero Optik Rehoused
🔎5- LEICA M 75mm T1.4 Zero Optik Rehoused
🔎6- LEICA M 90mm T1.6 Zero Optik Rehoused
📹 ARRI Alexa Mini LF
Dir. @joonrho
DP. @codywpreston
Production Company. @graynmedia
1st AC. @viktorwallmark
Gaffer. @indiana_wilson_films
Lamp Op. @will.modrovic
Production Designer. @sodamihong
BTS Photographer. @ljmedia.ca
Talent/Artist. Arturo Montejano Herrera
Rentals. @rawcameraco
Lenses. @zerooptik
.
.
#lensaddiction #leicam

‘Bloom’ - @mollytea_canada
(Get lost in the full Lens Addiction archive — link in bio)
🔎1- LEICA M 50mm T1.0 Zero Optik Rehoused
🔎2- LEICA M 24mm T1.5 Zero Optik Rehoused
🔎3- LEICA M 50mm T1.0 Zero Optik Rehoused
🔎4- LEICA M 75mm T1.4 Zero Optik Rehoused
🔎5- LEICA M 75mm T1.4 Zero Optik Rehoused
🔎6- LEICA M 90mm T1.6 Zero Optik Rehoused
📹 ARRI Alexa Mini LF
Dir. @joonrho
DP. @codywpreston
Production Company. @graynmedia
1st AC. @viktorwallmark
Gaffer. @indiana_wilson_films
Lamp Op. @will.modrovic
Production Designer. @sodamihong
BTS Photographer. @ljmedia.ca
Talent/Artist. Arturo Montejano Herrera
Rentals. @rawcameraco
Lenses. @zerooptik
.
.
#lensaddiction #leicam

🚨 NEW GEAR ALERT 🚨
From @zerooptik - the Leica M Summilux/Noctilux Primes.

These contemporary Leica M-mount aspherical optics deliver crisp, high-performance imagery and reliable uniformity tailored for the demands of modern cinema.

The Leica M Primes feature:
- Vintage soul, with stunning subject isolation and roll-of
- Wide apertures from 21mm through 90mm, with the 50mm and 75mm entries offering even greater speed
- LPL mount compatibility

Visit our website at the link in our bio to learn more!

🚨 NEW GEAR ALERT 🚨
From @zerooptik - the Leica M Summilux/Noctilux Primes.

These contemporary Leica M-mount aspherical optics deliver crisp, high-performance imagery and reliable uniformity tailored for the demands of modern cinema.

The Leica M Primes feature:
- Vintage soul, with stunning subject isolation and roll-of
- Wide apertures from 21mm through 90mm, with the 50mm and 75mm entries offering even greater speed
- LPL mount compatibility

Visit our website at the link in our bio to learn more!

4d + Iris and focus motors with a @zerooptik Olympus OM, with a bunch of custom bits and bobs: 3d metal printed NATO rail PL mount and handle. 6061 custom top plate machined by @possumsolutions + Preston MDR mount. All powered by a modified TB50 plate by @ignitedigiaustralia.