Lenses
16oz Studio carries an impressive range of premium or unusual cinema oriented LPL + PL glass.
Recent lenses acquired:
ARRI Signature primes , Canon TLS Dream lenses (Rangefinder) , TLS Mamiya 645 lenses
Cinema Glass (PL + LPL).
As with all 16oz investments a lot of research is undertaken before decisions are made. The conclusion was a mix of lenses that allow us to produce any type of image needed. At one end we have the class defining pristine-ness of the Arri Signature Prime. These are quite simply the best ‘good’ lenses ever made. They are super high resolving, bigger than VisataVision covering, fast, smooth and super clean. If more interesting ‘funky’ analogue flaws are wanted, we engage TLS Canon Dream lenses or TLS Mamiya lenses. The cinema market has changed a lot in the last few years and the biggest optical bargain we have ever seen is Sigma’s Cine primes. Fast, sharp, light and easy to use there is nothing to fault them for the price. Zooms are very important for efficient fast work and the best looking zooms are all from Angenieux from the Optimo's line of Cinema Zooms. When we need longer or wider the two interesting lenses are the TLS Morpheus 80-200mm and the Duclos 11-16mm. For gimbal work we often reach for a P+S rehousing of Sigmas 18-35 T2 zoom. At less than a kilo it is very useful option. We also have had some interesting one off PL Tilt lenses made for us and a couple of secret exotic treats.
What lenses are right for a project?
PL + LPL prime lens sets
ARRI Signature Primes are miracles of modern optics. They are lenses that are not only fast, but also surpass all standard and high speed primes in their image performance. They cover LF/Vistavision and are also the first cinema lens series truly designed from scratch for digital imagers. Signature primes lenses offer consistent optical quality across the t-stop and focus scales and display absolutely no breathing. Their fast speed (T1.8/f1.6) opens up creative opportunities. We use the Signatures when we want to have the very highest resolution of pictures or need their buttery smooth modern look. If you need reliable precise lenses but with an easy going attractive picture they are the perfect lens. We believe there is simply no better choice than the Signature Prime lenses for premium large format digital productions shooting spherical.
Now if clean modern images are not your bag. The Signatures have a novel magnetic rear net and filter holder, providing an easy option to break up the image in lots of different creative ways. 16oz has a set of custom optical diffusion that drops straight into the rear holder.
TLS Canon Dream lenses (Canon Rangefinder)
The Canon Dreams are Canon Rangefinder primes lenses from the 1950s and 1960s. They have been beautifully rehoused by TLS and cover Sony Venice, Arri LF and Monstro. The set is named after its informal central lens the legendary ‘Canon Dream lens’ the 50mm f/0.95 which changed photography when released in 1961. The other focal lengths are hand picked and from the same era and have the same characteristics. Soft glows with organically textured highlights and shadows help combat the digital blandness of modern cinema cameras. Off axis these lenses fall off pretty fast but if you need a cleaner image all you need to do is stop down… however unlike some other ‘Vintage lenses’ these lenses always keep some of their vintage flavour irrespective of stop.
Focal lengths currently inc:
25mm T2.1 , 35mm T1.6, 50mm T1.1, 85mm T1.6, 100mm T2.1
We also have a 19mm f3.5, 28mm f2, 40mm f1.7, 58mm f1.2 , 135mm f2.5 and 200mm f3.5 tested and waiting to be rehoused.
The 100mm and 25mm focus so close they are nearly macros.
TLS Mamiya 645
This set of 8 lenses is very interesting and offers special picture opportunities that are difficult to replicate with most modern glass.
We hand picked our set during the Covid lockdown, so where able to take this set to the extreme, for example our chosen 35mm lens was the best of 8 lenses tested. Not even Kubrick would be this picky!
The soft gorgeous multi coloured flares of these lenses are fun to work into your images. To understand the potential of the set try the 78m or the super fast 57mm T1.6 (f1.3) and check out some skin or make them flare!
Sigma Cine Prime lenses We were completely shocked when we first tried these lenses. They are nearly too good to be true. Cost effective, fast, light, sharp and easy to use. There is no excuse anymore for using bad glass.
If you want bright sharp images these are a fantastic option!
ZOOMS
Angenieux
Our latest Zooms are the Angénieux Type EZ Zooms. These lenses are configurable for both FF/VistaVision and S35
Angénieux Type EZ 1. can be configured either as a 30-90mm F1.9/T2 lens for S35 usage or 45-135mm F2.8/T3 for FF/VV usage.
Angénieux Type EZ-2 can be configured either as a 15-40mm F1.9/T2 lens for S35 usage or 22-60mm F2.8/T3 for the FF/VV usage.
The three other Angenieux Optimo zooms we provide focal length options from 16 to 120 mm. We also have the ability to extend the range of the longest lenses the Optimo 45-120mm with a 2x extender. The 16-42 and 30-80 are from the DP series and have a rear that precludes their use with a motion mount but are otherwise excellent. All 3 lenses are extremely light weight (about 2kg each). This allows perfect camera balance on the shoulder and for quick easy positional work when using an easy-rig.
80-200mm Morpheus Zoom
Back in 2005 TLS were asked by ARRI Media in Uxbridge to re-design the Nikon 80-200mm/T2.8 for the then upcoming 2006 Bond reboot ‘Casino Royale’. TLS redesigned the zoom, focus and iris mechanics, added 0.8 pitched gears, extended the focus rotation to 180 degrees. Unlike all other PL 120mm and greater lenses, the 80-200 is designed to be lightweight at 2.3kg and is ideal for hand held, small camera setups and remotely operated rigs. The optical design of the Nikon lens exhibits good optical performance and is a decent LW extension of the zoom range of the LW optima lenses. The 9-leaf iris generates round, out of focus highlights and an organic bokeh.
Duclos PL 11-16mm ultra-wide angle lens
Duclos Lenses has developed a conversion process for the Tokina 11-16mm ultra-wide angle lens. They improved the optical performance (for precise axial alignment) and stabilised the image while focusing and zooming. The final product is a small lightweight lens perfectly capable of holding it’s own against the likes of other motion picture optics, all with a precision one-piece machined stainless steel PL mount.
Macro Lenses
Our favourite Macro lens is the TLS 1:1 60mm T3. We tested every possible macro in the world to find a great source for a TLS rehouse and then they added a few secret optical tweaks.
It has a great working distance for a 60mm. Covers greater than FF and also has a buttery smooth Bokah.
If the 60mm is not right for the shot then we have a variety of other Macro lenses inc a couple of Lowa 24mm Macro probes.
Tilt and Shift lenses
The fantastic 28/2.8 Schneider PC lens was modified for us to tilt instead of shift (for up to 12° tilt) and now has a PL mount. This lens is fantastically sharp and easy and fun to use.
If you need the impossible tilt shot where focus runs almost perpendicular to the film plane we turn to a Special 35degree Tilt Rodegon 80mm projector lens that has been modified for cinema use.
This interesting 80mm can be teamed up with a Makroscope 12 diopter. This two element aspherical lens is possibly the highest quality auxiliary close-up lens available and produces an image size of greater than 1:1 – without the light loss associated with extension tubes.
Other PL lenses
RED Pro 300mm T2.9 The first lens Red ever made and probably the best as well. Zeiss don't make a 300 PL lens and we didn't want to buy a super heavy zoom, so tested all the available options. In PL terms this is a cheap and cheerful lens but it really does the job.
Minimum Object Distance is 7.36'
H x V FOV for S35 Format is 5.83° x 2.92°
P+S TECHNIK 18 - 35mm T2 A really interesting lens for 3 reasons; amazing close focus, very short and super light for a zoom of this range. Weighs the same as a light prime. It doesn't quite cover 6k on the Dragon but if you need the size it is fantastic.
Perfect for Gimbals!
Pelang 8mm T2.8
Last and probably least in our PL lenses portfolio is a Russian Pelang 8mm lenses mounted in PL. This fish eye lens has only been used twice and even though it was a huge success both times and a lot of fun, it is tricky and flawed.
Master Diopters
Main Features
3 Diopters (+0.5, +1, +2) for close ups beyond the lens' close focus
Superior image quality through achromatic elements and Zeiss T* coating
Optically matched to Master Primes, but can also be used on other lenses
Time savings and better match to prime lenses compared to macro lenses
Clamp-on mechanism ensures quick and easy use and precise fit
Works with Master Primes, Ultra Primes, Ultra 16 lenses, the the Optimo zooms,.
Achromatic lens elements and careful optical design
ZEISS T* anti-reflection coating greatly reduces flares and other internal reflections.
Their unique mechanical design allows for safe and fast use, including quick stacking. Close tolerances and a unique clamping mechanism ensure perfect centering and keep the diopter parallel to the taking lens. The Master Diopters allow you to quickly grab a close up without sacrificing image quality.
Ultra Diopter
Nearly identical to the Master Diopter. The difference is that they only work with 95mm fronted lenses and they are available only as +1 and +2 strength.
Extension tubes
Not strictly optical but definitely part of the lensing system. We carry some Extension tubes for when a diopter is either not enough or when it is inappropriate to use. For example with the Ilumina lenses PL 16mm PL 25mm and a PL 50mm.
Diffusion filters and other optical tools
As mentioned we have spent a lot of time investigating Diffusion, in combination with our lenses and how to create different looks with digital sensors. The culmination of all this research means you will find us shooting through lots of different bits of glass from the latest Tiffen Diffusion to fractured pieces of window pane taken from a 19th century chapel window.
Non-PL Glass
PL mounted cinema glass is on our cameras 95% of the time, however there is some really interesting and useful Nikkor, Canon, Leitz and Zeiss glass that has not been rehoused. When needed we dip into a pool of over 30+ lenses.