Filmmaking cameras
Film cameras and Lenses used for

Due to their unique construction, the MiniHawks solve problems associated with anamorphic lenses while preserving classic anamorphic characteristics. They offer super-close focus – almost like macro lenses – with no breathing while focusing. MiniHawks are geometrically well-corrected, yet still preserve classic anamorphic characteristics such as elliptical bokeh and shallow depth of field, resulting in an organic cinematic feel.

Specifically designed for today’s increased sensor sizes, Hawk65 lenses bring the elegant sweep of legacy 70 mm anamorphic to modern large-format cameras. The Vintage’74 aesthetic delivers the visual signature of older glass with high performance mechanics.

Hawk65 Vintage’74 lenses are the result of a ground-up design. The smart 1.3x squeeze offers an array of benefits and options. With large 24x36 mm sensors, for example, 1.3x produces the increasingly popular aspect ratio of 2:1 while making full use of the sensor’s area and resolution. A slight top / bottom crop produces widescreen ratios like 2.4:1. Meanwhile, an ingenious patented Iris Shaping System produces bokeh similar to that of a 2x squeeze for classic anamorphic flavor.

By design, the soft, natural contrast and pleasing skin tones produced by these lenses work in harmony with the unique depth of field characteristics and other subtleties of large sensor imaging. Precise grinding, polishing and coating combinations tailored to each focal length result in finely-tuned contrast, curvature, falloff, streaking and haloing.

Sony FE C zoom lenses are optimized for digital cinematography, documentary production and other premium content produced with full-frame cameras such as the FX9 and VENICE.

Linear Response MF enables smooth, lag-free manual focus, allowing DoPs and camera operators to adjust focus accurately and intuitively. The focus ring offers a 120-deg large angle of rotation for finer control, with distance scale markers for consistent focus reset during multiple takes. 

The FE C 16-35 features a true cine design with its 0.8 MOD gear and 114mm lens diameter to fit standard cine follow focus units, lens motors and matte boxes. Wide-angle zoom designed for full-frame E-mount cine cameras, this lens is also compatible with full-frame cinema cameras such as the PXW-FX9.

The constant T3.1 maximum aperture throughout the zoom range means consistent exposure as you change focal lengths in a scene, so closeups don't have to be relit just to get enough exposure.

The Ultra Prime Lenses have the widest focal range of any 35mm prime lens set available to cover every cinematic need: from the unique Ultra Prime 8R extreme wide angle lens to the best telephoto lens designed specifically for motion pictures, the Ultra Prime 180 mm, giving you the flexibility to get the coverage you want.

Ultra Prime Lenses retain their excellent image quality even at close focus across the whole Super 35 frame. They are lightweight standard speed lenses that are a perfect optical match to the high speed Master Prime Lenses.

The Ultra Prime Lenses have been co-developed by ARRI and ZEISS, and are manufactured by ZEISS.

Angenieux offers a unique range of lenses perfectly suited for productions ranging from top quality to mid-range. Purposely built for cinematic production, our lenses achieve excellence in design, mechanical and optical perfection.

All cine lenses offer a fast T-stop throughout the entire zoom range, large focus scale rotation angle that enables precise manual focusing, and retain superb image quality even under extreme environmental conditions. The pristine optical performance and seamless blend between contrast and resolution create a distinct cinematic look unique to Angenieux lenses.

Angenieux lenses have been used by the world’s top Cinematographers to capture anything from blockbuster features, high ranking TV series, to independent content, either shot in spherical or anamorphic.