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Rental de lentes y filtros vintage para la industria cinematográfica y publicitaria. Accessories tiffen close up lenses 4.1/2 1,2,3,4 Bolex H16 EBM Electric la cámara profesional de 16 mm ideal para todos los trabajos de reportaje ... por 8 razones principales 1 Su motor eléctrico incorporado transporta la película a velocidades estabilizadas electrónicamente. 2 Está diseñada para la grabación sincronizada de sonido; dos sistemas a elegir: sincronización por cristal o sincronización por impulsos con pizarra. 3 Puede equiparse con el objetivo Vario Switar 100 POE con medidor de luz incorporado para el ajuste automático de la apertura durante la filmación, así como con un dispositivo de preajuste del diafragma para ver con el diafragma completamente abierto entre dos tomas. 4 Diseñada para carretes de película de 100 pies, también admite cargadores de accesorios para carretes de 200 pies o rollos en núcleos de hasta 400 pies. 5 Su montura de bayoneta ultrarresistente e infalible hace que el cambio de objetivo sea extremadamente rápido. Bolex EBM 1x Bolex EBM Contiene 2x Batería con botón de parada run-start para trabajo con trípode con cargador 2x chasis 120mts 1x zoom switar 16-100 1x juego de Bolex primos con montura C 10, 16, 25, 50, 75 Bolex USA. Primos vintage Kern-Paillard Switar C-Mount 1x adaptador montura Nikon A pedido 1x set de lentes nikon pre Pais disponible: 20f 3.5 , 24 f2 ,35 f 1.4 ,55 f1.2, 85 f 1.8, 105 f2.5, 135 f2.8, Especificaciones: Velocidades 10, 18, 24, 25, 50 Montaje: bayoneta bolex y adaptador a montura c FPS: 12, 16, 18, 24, 32, 48 y 64 Obturador variable: no Ángulo de obturación: 170 Videos Videos tiffen close up lenses 4.1/2 1,2,3,4 Arri sr evolution P+S technik super 16mm Montura PL, cristal speed motor de 1 a 60 fps video asist 450 p 2x chasis Camara Arri SR evo S16mm 12v con video Assist incorporado 1x Lupa Larga 1x view finder Grande de arri 3 1x split box 1x disparador a distancia 1x manopla con disparador 2x chasis sr 2 2x chasis sr3 hs 1x speed control 1x Bolsa Negra 1x Pizarra 1x bridge plate 1x coliza 1x caños de 19 1x fuente 12v 1x adaptador baterías v mount a 12v 1x Hand grip Arri . 1x cable Deamon con lector de voltaje 2x cables de baterias 4 pines 1x Clipon 4x5.6 O´connor 1x Filtro 4x4 ND6 1x Filtro 4x4 Polarizador 1x Set filtros 4x4 85, 85ND 3 - 6 y 9 1x 85pola 1x 81ef 1x 85 4,1/2 Opcion lentes 1x Zoom canon 7-63 mm t2.6 s16 zoom caños de 15´´ 1x Set Carl Zeiss mk2 1.3: 9.5 ,12 ,16 ,25 1x Carl zeiss 35mm f1.4 1x Cooke kinetal 75mm f2.2 Opción 1x cabezal Sachtler 7+7 bowl 150mm 1x Trípode cámara alto Ronford Baker 1x Trípode cámara bajo Sachtler 1x Steady bag

Telephoto Century Return

Canon introduces the first lens macro zoom lens in the world for 35mm cameras Focal distance 25-120 Return

P+S Technik KOWA Evolution 2X Lens set :40mm, 50mm, 75mm, 100mm PL mount 2x anamorphic 40mm T 2.4 / CF 3' 50mm T 2.4 / CF 3' 75mm T 2.5 / CF 3' 100mm T 3.2 / CF 5' All lenses 80mm diameter Compact and lightweight, ideal for gimbals Return

Hawk C Series Return

Canon Macro Specs Lens Manufacture Made in Year Released Mount Version Element Groups Focal Length Opening Opening Blades Open Control Focy's type hard infinity stop magnification Minimum Focus Distance Working Distance Filter Threads Weight Dimensions Canon/OPTEX Rehouse Japan/Engloand 1979 PL New FD Canon 50mm f/3.5 Macro 6 he 4 grs. 50mm f/3.5-32 6 Manual & Auto, Auto Diaphragm Manual And it is 1:2. 1:1 w/extension tube 21.2cm (9.1") 4-1/4" (10.8cm). 2-3/16" (5.6cm) 52mm 240g, 344gw/extension tube ø63mm x 76mm (2.5" x 3") Return

CONTACT We are an optics rental company for the film industry. We specialize in spherical, anamorphic and unconventional filters. Santiago (Gaita) Count Leonardo Hermo Jose Maria Hermo Mail info.opticas78@gmail.com

CanonZoom35 Return CanonZoom35 Return

Set Cooke Panchro S2 The cream of the cream Regarding old optics, they are the Cooke Speed Panchro, a generic nomenclature that serves to accommodate both the series made up of Cooke S2 optics (with designs from the 1930s) and Cooke S3 (designs from the 1950s). And it is that many surviving games contain optics of both series, since of the S3 series only an 18mm and a 25mm were manufactured, so that all the focal lengths except these must be completed with the S2 series. Originally, the sets came with an Arri Standard mount, but the best way to use them today is using series rebuilt by Century Optics or Van Diemen, with PL mounts and mechanisms (focus rings and diaphragm) similar to those of modern optics. The images produced by these series can vary greatly depending on the different focal points that make them up, but in general one can expect enormous softness, warm colors and many spectacular sparkles, bearing in mind that there may be notable differences within a same game in terms of tonal reproduction, sharpness, resolution and contrast that affect the consistency of the images of a project. Of course, their aberrations and "flaws" are magnified at maximum aperture, where they can offer an image of distortions reminiscent of anamorphic. So for any project that needs high consistency or great image quality –a priori– they don't seem like the most suitable games; On the other hand, if you are looking for an organic, vintage or old-fashioned image, or even favor actors/actresses with lenses that offer a very natural diffusion or softness, the Speed Panchro is a more extreme version of the subsequent Cooke creations and could turn out wonderful. Movies shot with Cooke Speed Panchros Marie Antoinette (Marie Antoinette, dir. Sofia Coppola, DF. Lance Acord) An Education (Life Teaching, dir. Lone Scherfig, DF. John de Borman) Spartacus (Spartacus, dir. Stanley Kubrick, DF. Russel Metty) A Clockwork Orange (A Clockwork Orange, dir. S. Kubrick, DF. John Alcott) Midnight in Paris (Midnight in Paris, dir. Woody Allen, DF. Darius Khondji) 12 Monkeys (12 Monkeys, dir. Terry Gilliam, DF. Roger Pratt). Return

Canon introduces the first lens macro zoom lens in the world for 35mm cameras Focal distance 25-120 Return

ANAMORPHIC Anamorphic lenses or anamorphic lenses are those that began to be used in the 1950s in cinema in order to obtain a more panoramic image. When we speak of a more panoramic image, we refer to an image that has a greater angle of vision laterally. Anamorphic lenses are lenses that act in a very specific way to give that cinematic look. What they do is they horizontally compress the image, so it's much more square than it will be later, and then it uncompresses on edit (stretches horizontally). In this way, a much more stretched image is achieved than the one that would be obtained with spherical lenses. See lenses SPHERICAL Spherical lenses are a type of lens whose curvature is not part of a sphere, thus eliminating spherical aberrations from the lenses. The purpose of a spherical lens is to simplify the construction of an objective. Aspherical lenses are very useful on very bright lenses, wide angle lenses and high quality compact zoom lenses. A single spherical lens can replace multiple spherical lenses, which in turn leads to simplified lens design. See lenses