The Hawk V-Lite 2x Anamorphic Primes with 180mm (1 of 2 globally)

The Hawk V-Lite 2x Anamorphic primes , aptly named for their extremely small form factor, are incredible builds in the anamorphic space.


Much can be said about the physical characteristics of the V-Lite anamorphics—but what comes first with these optics is its unique look.

The V-Lite 2x anamorphics were built to match the look of the Hawk anamorphics, which have been in circulation for over a decade. In addition to ultra-cinematic qualities like a 2x squeeze ratio and a dynamic anamorphic aesthetic, this look is defined by minimal distortion, increased definition and amplified contrast across the entire range.

As the “2x” signifies, the V-Lite anamorphic cine primes have a squeeze ratio of 2x. What this means is that the anamorphic lens captures twice as much horizontal information as vertical, resulting in an image that appears more stretched. This 2x squeeze feels “cinematic” in that special anamorphic way, lending compositions to a wider field of view.

Words describe, but they can’t affect you like an image. Check out the lens test below from cinematographer John W. Rutland, which showcases the full expression of these cine primes at their wide open T-stop.


One of the most notable anamorphic qualities in this footage is the incredible flare response of the V-Lite anamorphics. Sharp, streak-shaped flares give the frame volume and a sense of urgency—delivering on the promise of the anamorphic format.

Pleasing barrel distortion lends a tactile feel to these primes, especially towards the wider end of the spectrum.  The reactive elements of the anamorphic look, paired with the precise mechanics and sleek look, is the magic combination of vintage-and-modern that renders a unique anamorphic look for the V-Lite cine primes.


The V-Lite primes are the natural evolution of anamorphic lenses—a stunningly expressive anamorphic aesthetic encased in a lightweight housing with precise mechanics. Although the V-Lite primes are a continuation of the Vantage anamorphic look, these cine lenses are designed from scratch; the traditional anamorphic look updated with new optics.

Enough cannot be said about the robust form factor of the V-Lite anamorphic. As Vantage touts, the weight of every lens has been reduced up to 20% in this lens package. The weight of the individual lenses range from 1.91-2.93kg (4.4-6.4lbs). This lightweight-yet-sturdy build allows the V-Lites to work for all sorts of rigs, especially freer options like handheld and Steadicam—without fuss.

The lenses telecentric design allows equal performance on film and digital cameras.

The engraved T-stops on the Hawk V-Lite lenses are constant from infinity to close focus. Similarly, the maximum light transmission is maintained throughout the whole focusing range (contrary to other lenses, which lose some light while focusing).

28mm 35mm 45mm 55mm 65mm 80mm 110mm 140mm
T-Stop Range T2.2-T16 T2.2-T16 T2.2-T16 T2.2-T22 T2.2-T16 T2.2-T16 T3.0-T16 T3.5-T22
Close Focus .8m/2’7″ 1m/3’3″ 1m/3’3″ 1m/3’3″ 1m/3’3″ 1m/3’3″ 1m/3’3″ 1m/3’3″
Horizontal Angle of View 82.3° 65.4° 53.3° 47.10° 39.7° 32.5° 23.5° 18.5°
Vertical Angle of View 35° 27.8° 22.7° 20° 16.6° 13.8° 10° 7.9°
Weight 2.1kg/4.6lbs 2.9kg/6.4lbs 1.9kg/4.2lbs 2kg/4.4lbs 2kg/4.4lbs 2.3kg/5lbs 2.6kg/5.7lbs 2.7kg/5.9lbs
Front Diameter 120mm 120mm 104mm 104mm 104mm 104mm 104mm 104mm




The bulk of the V-Lite primes have a superfast aperture of T2.2. The seven primes from 28mm to 80mm all have this T2.2 speed, while the 110mm is T3.0, and the 140mm is T3.5.

Because the V-Lite anamorphics are more affordable than the industry-leading packages like the Cooke Anamorphic Primes, they are missing out on the added convenience of uniform apertures across the lenses. While this doesn’t necessarily affect the image, it can be seen as a dent for more deep-pocketed shooters.

Similarly, the front diameter of the nine Hawk V-Lite primes is not consistent; split halfway between 104mm and 120mm. While there is the argument that even doubling the budget for filters is negligible when considering the cost of renting an entire primes package, some shooters might still err on the side of perfect uniformity, no matter the cost.



The Hawk V-Lites have superfast apertures for optimal low-light performance.



There are several variations of the Hawk V-Lite anamorphic primes out there for rent. Some include all nine primes: 28mm, 35mm, 45mm, 55mm, 55 (macro), 65mm, 80mm, 110mm, 140mm. This arrangement includes the 55mm macro, which has an exceptional close focus of .35m (1’2”), compared to its ordinary 55mm counterpart’s CF of 1m (3’3”). While the macro is a specialty use lens, its capabilities are impressive nevertheless.

Some Hawk V-Lite sets are streamlined, opting for a smaller, more affordable package of primes that still covers an extensive focal range.

Or: some sets find ways to extend the focal range to give even more power to the V-Lites. For example, the V-Lite anamorphic prime set at Bokeh Rentals includes:

  • V-Lite 2x Anamorphic Cine Prime 28mm T2.2
  • V-Lite 2x Anamorphic Cine Prime 45mm T2.2
  • V-Lite 2x Anamorphic Cine Prime 55mm T2.2
  • V-Lite 2x Anamorphic Cine Prime 80mm T2.2
  • V-Lite 2x Anamorphic Cine Prime 110mm T3.0
  • V-Lite 2x Anamorphic Cine Prime 140mm T3.5
  • V-Lite 2x Anamorphic Cine Prime 180mm T3.0



Bokeh Rentals’ specialty-built 180mm T3.0 V-Lite prime is a unique extension to Hawk’s prime package.



The Hawk V-Lite 2x Anamorphic Primes create super-cinematic anamorphic images within a compact, lightweight form factor.

Bokeh Rentals’ seven-primes V-Lite package is a blend of convenience and affordability. Most importantly, it includes the specialty-built 180mm prime, drastically extending the focal range of the set.

Considering renting? Why not check out Bokeh Rentals equipment packages!

•Rent The Hawk V-Lite 2x Anamorphic Primes at Bokeh Rentals

Contact us to customize a package to suit your production needs at low prices!

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Leica Summicron-C

‘Will Trent’ Captures Atlanta with the Leica Summicron-C

Will Trent, a new series that just premiered on ABC, is the rare network television drama that creates its look with the Leica Summicron-C primes.

Will Trent on ABC

Will Trent stars Ramón Rodríguez and premiered January 3, 2023 on ABC. The police-procedural-turned-mystery is centered on an Atlanta detective named Will Trent. As a Special Agent of the Georgia Bureau of Investigations, Will is sent to investigate the apparent murder of a local teenager. But when the crime scene turns out to be the site of an abduction, Will starts leading the police to the kidnappers.

Genre trappings aside, Will Trent is dedicated to capturing the feel of Atlanta, where the story takes place. As Ramón Rodríguez, the titular star, describes: “It’s pretty great when you get to shoot where something takes place and so Atlanta very much, especially in the pilot, we really establish it as a character… The head of Atlanta, the warmth, the look of the show, the tones of this show really represent the city”.

And capturing the unique look of Will Trent would not be possible without the Leica Summicron-C primes.

Will Trent ABC Leica Summicron-C



In designing the style of the program, cinematographer Oliver Bokelberg clearly tried to introduce a contrast between the typically cold procedural and the warm forest climate of Atlanta. The image above is awash in warm, yellow tones—something not typically seen in police procedurals. In the back of the frame, the warm sunshine backlighting the trees is pleasant; providing an emotional contrast with the sickly yellow interior of the crime scene. While a good amount of this subtle color tinging may have been done in post, there is clearly the effort for a unified look throughout all departments and stages of production.

Check out the shot below, in which Faith (played by Iantha Richardson) stands in a room bathed with orange light. The warm, orange tone of the lighting is complemented by her costume: a yellow sweater with red fabric peeking out. Similarly, the background has hints red, and well as a yellow practical hanging in frame. Although color grading is a final touch, the warm look of this show is there from its beginning stages.

Will Trent Still Leica Summicron-C




The Summicron-C are prime lenses designed for larger sensors on film and television productions. They are built ultra-precise with clean imagery. Because the Summicrons are built with computer-aided precision, they have been used for 3D camera rigs—such as by Dion Beebe, ASC, ACS, while shooting the 2019 Action/Sci-fi film, Gemini Man.


Leica Summicron-C

The Summicron-C primes from Leica are available to rent from Bokeh Rentals. Lenses can be rented in six focal lengths: 18mm, 25mm, 35mm, 50mm, 75mm, and 100mm.

Although the Summicron-C primes aren’t as warm as their pricier counterpart, the Leica Summilux-C, the Summicrons are still warm enough to give Will Trent a unique, distinguished look among network television.

The Summicron-C lenses have a natural focus fall-off and a creamy sharpness. Skin tones remain soft and smooth while hard edges and fine details retain their contrast. There is an authentic color rendition that lends the image to expressive color manipulation in post-production.



The Leica Summicron-C lenses are small and lightweight, making them perfect for quickly shooting very active camera movements. Because long walk-and-talks are integral to the network tv procedural, the Summicron-C are the perfect tool for Will Trent. Beyond its convenient form factor, the Summicron-C primes have an excellent fast aperture of T2.0, as well as other useful features like a 300° focus rotation and a consistent front diameter among lenses.

An interesting feature of the Summicron-C is its patented focus system that expands the focus scale in the most critical range for each prime. This does away with the logarithmic focus system, which some see as inefficient for focus-pulling.

These Leica Primes are seat on a stainless steel PL mount, which means they are compatible with the industry’s leading camera bodies from manufacturers like RED and ARRI. All lenses in the Summicron-C line has a usable image circle of 36mm, which means they can seamlessly shoot Super35. The Leica primes can cover such sensors like the RED Helium 8K S35 and ARRI Alexa in 16:9 formats without any loss in the corners or vignetting.



Will Trent’s setting is integral to its sticking power as a procedural. The beautiful-yet-punishing scenery of Northern Georgia is embraced by the show’s creative team; and captured powerfully by the Leica Summicron-C cinema primes.

The Leica Summicron-C prime lenses have an extraordinary aesthetic, expressive color rendition, Super35 capabilities–all contained in a compact form factor. They can be purchased retail for anywhere from $15,000 to $20,000, depending on focal length.

Bokeh Rentals’ five-primes package is a blend of convenience and affordability. Helm the Summicron-C look with a nimble package capable of all shot sizes with five lenses: 18mm, 25mm, 35mm, 50mm, 85mm, and 100mm.

Therefore, if you’re looking to use the ARRI Master Primes for your production, it’s best to check out a reputable rental house.

Considering renting? Why not check out Bokeh Rentals equipment packages!

•Rent The Leica Summicron-C Cinema Primes at Bokeh Rentals

Contact us to customize a package to suit your production needs at low prices!

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Rami Malek ARRI Master Prime

Cartier Promo uses ARRI Master Prime

In the world of cinematography, there’s always a film or television show to discuss. But this week, Bokeh Rentals is zooming in on a medium where state-of-the-art is often used, but often not recognized: promotional material.

In particular, this shot from the “Cartier Tank Française: directed by Guy Ritchie” spot caught our eye. In international film star Rami Malek’s hand: the ARRI Master Prime. Now, before you think that Cartier chose the most expensive prop cinema lens—you can actually see in this behind-the-scenes video that the production did indeed shoot on Master Primes.


Rami Malek ARRI Master Prime

Rami Malek sits with an ARRI Master Prime lens in this shot from Cartier’s Tank Française promo. Directed by Guy Ritchie, this ad was also shot on the ARRI Master Prime cinema lenses.



For both the look and style that Guy Richie (and Cartier) was going for, the ARRI Master Primes made an excellent choice. The look of this lens series is unparalleled, and the closest to perfection of any modern lens. Co-developed by ARRI and Zeiss, the Master Primes produce incredible resolution and high contrast. It has a clean image that stands in contrast to other leading cinema primes.

The ARRI Master primes are available in five focal lengths from Bokeh Rentals: 18mm, 25mm, 35mm, 50mm, and 75mm.

Watch the official Cartier spot below to see the ARRI Master Primes in action:




The production design of this spot takes advantage of the lenses’ high contrast, as Rami Malek’s black suit and the sunlit bridge are both rendered clearly. Additionally, the high-speed quality of these lenses provided great opportunity for the crew to move fast—which no doubt played a factor when shooting on iconic Paris locations. In fact, Guy Ritchie mentions the crew’s speed in this behind-the-scenes featurette: “I had to move forward with a certain amount of momentum and not be too reticent about being technically correct”.

Across the entire package, the ARRI Master Primes have an impossibly fast aperture of T1.3. The lenses have a remarkably similar weight, which makes swapping simpler.

As far as optics go, the Master Primes have a 16-bladed iris that renders smooth, realistic bokeh. The iris is also evident in some shots that exhibit flaring in the Cartier ad. Clearly, the ARRI Master Primes’ exceptional technical capabilities allowed the crew to move fast while capturing gorgeous images of historic architecture.

Cartier Still LensFlare

The ARRI Master Primes have a very clean image in many regards. It lends itself perfectly to the suave, classy look of this Cartier spot. There’s a handful of shots in the ad’s second half that would’ve been blown sky high were the lens flares captured in anything other than the ARRI Master Prime’s clean, resolute look. Other shots (the wide shot of Rami Malek sitting with the cine lens at 0:32, for example) feature massive lights shining near the lens, but producing very little flare. For sponsored content seeking a messier look, there are modern builds like the Blackwing7 primes, which deliberately splash the frame with expressive flares.

Part of the Master Prime’s clean image also lies in its geometry. See, the Master Primes’ lack of distortion came in great use for this spot, which features a lot of movement towards subjects. Were there the geometric distortion of a vintage lens, then the dolly-in-and-around movement at 0:04-0:05 would not be nearly as seamless.





Guy Ritchie, his DP, and Cartier made a fantastic choice shooting their refined, Paris-inspired promos on the ARRI Master Primes. While their durable form factors and impressive apertures no doubt helped on a fast-paced shoot in the city’s iconic locations, it’s really the lenses’ clean, slick images and pleasing skin rendition that make all the difference visually.

The ARRI Master Primes cost anywhere from the mid-$20,000s to $42,000 for a single lens on the retail market.

Therefore, if you’re looking to use the ARRI Master Primes for your production, it’s best to check out a reputable rental house.

Considering renting? Why not check out Bokeh Rentals equipment packages!

•Rent The ARRI Master Primes Package at Bokeh Rentals

•Rent The Tribe7 Blackwing7 Primes Package at Bokeh Rentals

Contact us to customize a package to suit your production needs at low prices!

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Wednesday Netflix ARRI Signature Prime

How Netflix’s ‘Wednesday’ Used the ARRI Signature T1.8 Primes

Straight out the gate, the Addams Family spinoff Wednesday has become a massive success. Everyone seems to be winning big: Tim Burton has directed the number three program on Netflix—Jenna Ortega has become an even bigger star, getting twenty-five millions Instagram subscribers and several endorsement deals, and millions of viewers out there are hoping for a second season. But what Bokeh Rentals is focusing on—is the ARRI Signature Primes.

See, the official ‘Wednesdaynetflix’ Instagram account posted some behind the scenes pictures—and we couldn’t help notice this on-set moment of Tim Burton looking through the viewfinder. And the viewfinder is connected to the 95mm ARRI Signature Prime T1.8.


Tim Burton ARRI Signature Prime Wednesday
Director Tim Burton lining up a shot with the ARRI Signature Prime T1.8 connected to a viewfinder.





The ARRI Signature Primes have creamy imagery with organic skin tone rendition, which helps the filmmakers establish the gloomy, overcast mood of Wednesday. Additionally, the smooth midtones and deep blacks give a lot of character to the image, serving to ground the image’s washed-out, dream-like feel.

As you can see in the shot below, shadows are very important to establishing the mood of Wednesday, the character. The ARRI Signatures capture the deep shadows on the face and let them bleed under the character’s eyes, giving a morose mood that goes much further than makeup. In this frame in particular, the deep black of her eyes, hair, and school uniform all complement one another.

Jenny Ortega Wednesday Still ARRI Signature Prime T1.8
A shot of Wednesday Adams with the shallow depth of field of the ARRI Signature Prime T1.8.



Wednesday’s visual language is also powered by the ARRI Signature Prime’s containment of flares and smooth bokeh. Although Wednesday has its Burtony charm, it doesn’t wear a bright, cheery mood on its sleeve. Therefore, vintage lenses like the Canon K-35s or flare-heavy glass like the Cooke Anamorphic SF likely would produce loud flares incongruous with the material.

In the frame below, notice the lack of flares despite multiple direct light sources. The anti-reflective coatings and minimized internal flare of the Signature Primes keeps a clean, contained image. Similarly, there is very smooth bokeh, giving a uniformly soft appearance to light sources. Bokeh is nearly circular because of the primes’ 11-sided iris. Paired with the shallow depth of field from these super-fast lenses, the uniform bokeh provides a smooth, sensuous frame. In less warm environments, such as the overcast exteriors, the shallow depth of field and smooth bokeh provides a dreamy quality to the images.

Wednesday Still ARRI Signature Primes T1.8
The smooth bokeh and limited flare response provide a gentle feeling to exposed light sources.

The ARRI Signature Primes also allowed the filmmakers to shoot with less available light, since the lenses can push a maximum aperture of T1.8 universally. Similarly, since there is faster turnaround in a Netflix television production than, say, a theatrical release, the LPL mount’s metadata transfer helped speed up the post-production process. 

Other benefits of using the ARRI Signature Primes include zero lens breathing, large format coverage with image circles up to 46mm, and rear filter holders for convenient filter-swapping.



Because Wednesday has the visual motif of darkness, it makes perfect sense that the ARRI Signature Primes came to the rescue. Not to mention its state of the art technical capabilities, incredibly fast T-stop, and rock-solid mechanics.

The ARRI Signature Primes T1.8 are the highest caliber cinema primes on the market, made by the world’s leading optical manufacturer. The six-lens package of primes includes an 18mm, 29mm, 35mm, 47mm, 75mm, and 125mm. Individual lenses can be purchased retail for anywhere from $25,000 to $33,000.

Unless you’re a well-funded production company or major studio, your best bet is to rent from a dependable rental house– such as the LA-based Bokeh Rentals!

Considering renting? Why not check out Bokeh Rentals equipment packages!

•Rent the ARRI Signature Primes T1.8 at Bokeh Rentals

Contact us to customize a package to suit your production needs at low prices!

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Star Trek Cooke Macro 85mm

How Star Trek: Strange New Worlds Used Cooke Anamorphic FF+ SF Primes

Although full frame anamorphic is typically reserved for the theatrical filmmaking, they’ve found a fascinating new application on Paramount+.

For those who don’t know, Star Trek: Strange New Worlds is a spin-off of CBS All Access’ Star Trek: Discovery. Anson Mount will be reprising his role as Captain Christopher Pike, leading the starship USS Enterprise along new explorations throughout our galaxy. The Paramount+ show also serves as a prequel to Star Trek: The Original Series, taking place in the decade prior.

Star Trek: Strange New Worlds premiered on Paramount+ on May 2022 and was quickly renewed for a second season, which is currently in post-production and expected on Paramount+ later this year.



The Cooke 1.8x Anamorphic FF+ SF Primes are available to rent at Bokeh Rentals.




The show is the eighth Star Trek series to date; and the crew sought to update the look. Cinematographer Glen Keenan, CSC shot the first two episodes of the show, during which he helped create its look. The show is somewhat groundbreaking on a visual level, as it’s a streaming show shot in anamorphic full frame. The Cooke lenses employed are capable of recreating the signature Star Trek blue streak flare without the reliance on VFX to composite in artificial flares. This use of anamorphic lenses is somewhat precedented, as cinematographer Dan Mindel used Panavision Primo Anamorphic lenses to create vivid, sci-fi flares in the 2009 film adaptation of Star Trek.

Despite the sci-fi glamour of immersive LEDs interiors and far-out landscapes, the Cooke Anamorphic Primes work to ground the material with an organic look that update the Star Trek franchise.

Star Trek Strange New Worlds Cooke Anamorphic/i primes
Star Trek: Strange New Worlds uses the Cooke Anamorphic/i primes with extensive LEDs to create a grounded science fiction feel.

The anamorphic full frame look is not altogether new for Star Trek television, however. Keenan, who was also the cinematographer on Star Trek: Discovery, helped usher in the use of anamorphic on the show’s later seasons. He told Pro Video Coalition: “Season two of Disco was our move to anamorphic primes [for 2:39:1 for streaming] and that won me over. For Star Trek, there’s a studio, but no reality. I want to convince the audience that we are in a real space with a lens that would add more organic qualities to the image. The Cooke anamorphic special flares have the right amount of aberrations and flare for the signature Star Trek blue streak flare. Two things really help with reality: the unexpected inconsistencies between lenses help to ground the story like we were really there and the anamorphic falloff. Both of those features help to deliberately frame the action where I want the audience to focus on”.



Star Trek: Strange New Worlds is more like the original series in that each episode has its own story—largely disconnected from the others. As a result, the episodes were shot out of sequence, with Keenan and cinematographer Magdalena Gôrka each shooting half the first season’s episodes.

Star Trek: Strange New Worlds has three sets of Anamorphic /I Full Frame Plus Special Flare lenses comprised of the following focal lengths: 32mm, 40mm, 50mm, 75mm, 85mm Macro, 100mm and 135mm. Three sets were used in order to accommodate multi-camera shooting. Although not always used simultaneously, Keenan and Gôrka had three ARRI ALEXA LF and four ARRI ALEXA Mini LF cameras at their disposal.

Keenan said of the package, “During episode seven, I discovered the macro on the 85mm for close-up work… It became our favorite close-up lens as it’s just lovely with great falloff. Our main lens was the 40mm which can be seen in every episode and then the 75mm for our Steadicam, where the full frame anamorphic allows me to have a great focal range. Steadicam helps tell the story well and gives you a nice shot that you don’t have to edit.”

Star Trek Cooke Macro 85mm
The Cooke Macro 85mm creates strong separation between the subjects and their backgrounds while loudly pronouncing LED sources– melding the dramatic with otherworldly sci-fi imagery.


Keenan, who shot episodes 1, 2, 4, 7 and 9, played a heavy hand in setting the visual tone for the series. Whereas Star Trek: Discovery had an active camera with movement, Strange New Worlds has less movement.

“We’re different. It’s a living space and we don’t get in the way unless called for by the script; which allowed me to go for a bigger camera”, Keenan explained. “Our challenge was to make it its own version of the Star Trek universe. Even the language of this show is just different enough to give it its own voice”.

Although Strange New Worlds departs from its direct antecedent, it is very much akin to the original Star Trek series. Keenan explained: “This really is more like the original series. You can see it in the main themes of our showrunners and the nostalgic quality of the sets, wardrobe, characters and photography. We’re being as honest as you can be to a show shot in the 60s with a minimal budget. When talking with my crew—camera, lighting and rigging—we look at our problems as though we’re in the 60s. We have a lot of tools, but that doesn’t mean we should use everything and abuse it”.


LEDs are instrumental to the look of Star Trek: Strange New Worlds. As Keenan noted, “The set’s not ready until the lighting is ready”. There are over two million LEDs embedded in the set’s design, and it takes four operators that rotate between setup, shooting, and programming.

“What works is when the set lights the actors. We’re always in an artificial space that’s not real. Our challenge is to make it real. The more they’re lit with the ship, the more real it is. Any other lighting is minimal”.

A fantastic tool for Star Trek: Strange New Worlds was actually integrated into the Cooke lenses, themselves. Cooke’s /I technology lens metadata was helped the production capture such massive data in the pace required for modern television production. The /I metadata system logs useful information and encodes it into the footage. Data logged through the /I system include focal length, depth of field, focus and f-stop. Metadata like this is crucial to sustaining a speedy VFX pipeline, which came in handy on Star Trek: Strange New Worlds.

“I always have the data… always pulling that data for post. I knew everything about that camera and could police it. I don’t think I could do a show without it… I’m addicted to it”.



No longer is full frame anamorphic relegated to the big screen. The cinematography team behind Star Trek: Strange New Worlds is using the fantastic technical capabilities of the Cooke Anamorphic/i 1.8x Full Frame SF Primes to bring the Star Trek franchise’s visual language to a new level for the streaming age.

The Cooke Anamorphic /i 1.8x Full Frame+ Special Flare Primes can cost $36,500 for a single lens. Therefore, unless you’re a well-funded production company, your best bet is to rent from a dependable rental house– such as the LA-based Bokeh Rentals!

Considering renting? Why not check out Bokeh Rentals equipment packages!

•Rent the Cooke Anamorphic/i FF+ Special Flare Primes at Bokeh Rentals

Contact us to customize a package to suit your production needs at low prices!

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TypeSK lens

Type SK Primes | Rehoused, Full Frame Vintage Canon Glass

Lensworks Rentals has just announced the release of the Type SK large format cinema lenses. The rental house based in Los Angeles has designed an impressive rehousing of vintage Canon glass to make spectacular glass with full frame coverage.

Lensworks Rentals has announced a new Type SK large format cinema lenses designed and rehoused in Los Angeles, CA.


Type SK Full Frame Prime

The Type SK Full Frame lens is designed by LA-based LensWorksRentals.




The name “Type SK” is an homage to Japanese optics– the historical root to this re-invention of the ~1960s Canon Rangefinder lenses.

In November 1933, Gora Yoshida founded the optical manufacturer Seiki Kogaku, which means “Precision Optics” in Japanese. The company was founded in Tokyo, and Yoshida’s team began producing prototype 35mm cameras inspired by other designs of the time (such as Zeiss’ from Germany). Although Yoshida shortly left the company after, innovation continued, and the company’s first camera, the Canon (modified from “Kwanon” following outside investor’s advice), was introduced to the Japanese market in early 1936. Shortly thereafter, the optical manufacturer became known as Canon.

Since Lensworks revived a historic invention from the optical manufacturer, it chose to honor Canon’s roots with the name “Type SK”, in reference to Seiki Kogaku.


This lens test showcases the vintage appeal of the Type SK primes, from warm color resonance to pleasing field curvature.




The Type SK lenses are made using glass from the Canon Rangefinder lenses of the early 1960s. Therefore, these upgraded versions have image characteristics consistent midcentury glass. The Type SKs are characterized by:

Fast T-Stop

These lenses have impossible fast T-stops ranging from T1.6 to T2.1. This allows shooters to make the most out of their available light. This sense of control over the image and lighting, especially in conjunction with digital cinema cameras, would have been unthinkable in the ’60s.

Warm Color Tone

Elemental to vintage lenses is a warmth to the image. This includes golden flares and soft, glowing highlights. The warmth in the Type SK’s image sets it apart from modern glass, which errs on the less responsive, colder side.

Soft, Cat’s Eye Bokeh

The cat’s eye bokeh, most visible in long lenses with out-of-focus highlights, comes off feeling like something in between anamorphic and spherical bokeh. Paired with the field curvature– which turns what would be the flat plane of the image into a slight circle– the cat’s eye bokeh gives the image a subtle, hypnotic feel. Plus, the bokeh’s softness perfectly complements the gentle visual attributes of the Type SK.

Low Chromatic Aberration

These rehoused and reworked lenses do not contain much chromatic aberration, which was more present in the original Rangefinder’s era. The low chromatic aberration of the Type SKs allows these lenses to perform among modern glass while showcasing vintage aesthetics.

The above comparison video demonstrates the charming image characteristics when sized up alongside its modern day equivalents, such as the Cooke Speed Panchros, the Super Baltars, and the Canon K35s.

As you can see, the cat’s eye bokeh of the Type SK truly is incomparable to modern day lenses. Similarly, the field curvature of the Type SK is so slight, but when seen next to the straight-grid plane of, say, the K35s, its appeal becomes apparent.



Every lens in the Type SK package is capable of large format coverage.

Because these are rehoused vintage lenses, there are occasional asterisks to take into consideration for particular gear scenarios. First, the 24mm and 35mm Type SKs have corner vignettes on 36×24; however, they completely cover the 16×9 Alexa Mini LF sensor and the 5.7k 17:9 sensor on the Sony Venice). Second, the 25mm and 35nn have small hard vignetteing on the extreme corner when in open gate Full Frame/Vista Vision. And thirdly: the 25mm, 35mm, and 50mm aren’t compatible with spinning mirror cameras (as a result of their shorter back focuses).

The Type SK’s ability to shoot full frame is critical to its success in the modern filmmaking environment.

Similarly, Lensworks has rehoused the Type SKs to compete with modern gear. It has rock solid stops capable of handling any remote focus system, as well as static focus and gear positions between lenses. As far as form factor goes, the Type SKs have a housing with an anodized finish that allows years of wear and tear without effect; and durable lenses can be taken into nearly any filming environment.

T-Stop F-Stop MOD Front Diameter
25mm T1.6 f/1.4 10”
35mm T1.6 f/1.4 10”
40mm T1.7 f/1.7 10”
45mm T1.7 f/1.7 10”
50mm T1.6 f/1.4 10”
60mm T1.6 f/1.4 1′
85mm T1.6 f/1.4 1’8″
100mm T2.1 f/2.0 2’3″
135mm T2.1 f/2.0 TBD

The wide range of focal lengths allow the Type SK set to be used throughout a whole production.

There are plans to extend the set, on the wider side, with a 20mm prime.



The Type SK lenses from Lensworks Rentals is more proof that vintage lenses can be reworked into stunning modern glass. The set, comprised of nine prime lenses, is available for rental directly from Lensworks. Inquiries can be made at the Lensworks official site.

Type SK packages can also be found at the LA-based Bokeh Rentals.

Considering renting gear? Why not check out Bokeh Rentals!

•Rent the Type SK FF Primes at Bokeh Rentals

Contact us to customize a package to suit your production needs at low prices!

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Cooke 2x SF /i anamorphic lenses

Cooke Anamorphic 2x SF /i Primes | Why They’re The Best Out There

The Cooke Anamorphic 2x SF are a bold variation of the legendary brand’s state-of-the-art glass.

First and foremost, this package is the most updated anamorphics package from Cooke, arguably the world’s most accomplished manufacturer of optics. What makes these primes exceptional comes from the “SF”– which stands for “Special Flare” coating. The Special Flare coating allows these primes to produce truly spectacular flares, bokeh, and other aberrations.

However, these lenses do more than create beautiful images. They are also studded with convenient features, such as Cooke’s /I Technology, an intuitive form factor, and versatile capabilities.


Cooke 65mm macro SF /i anamorphic

The Cooke Anamorphic package also includes a macro lens at 65mm.



This line of Cooke Anamorphics has a 2x squeeze, the ratio sometimes referred to as “traditional Hollywood” anamorphic. Squeeze factor is essentially the ratio of horizontal to vertical information captured by an anamorphic lens. So, a lens with a 2x squeeze rate produces an image with a field of view that’s twice as wide as a spherical lens at that focal range, giving a greater sense of perspective and place.

When compared to the images of, say, a 1.8x anamorphic, these 2x Cooke Anamorphics will appear slightly more ‘stretched”, giving a denser frame that most laypeople would probably describe as “more cinematic”.

This video from Anamorphic on a Budget gives a full explanation of how squeeze factors affect images from a lens.

Although these lenses from Cooke have the “traditional Hollywood” squeeze ratio, there are other anamorphics out there with sub-2.0 squeezes, such as the Caldwell Chameleon anamorphics.


There are eight lenses in this Cooke package: 25mm, 32mm, 40mm, 50mm, 65 (macro), 75mm, 100mm, and 135mm.

The Cooke 2x Anamorphics have a lightweight, compact form factor that makes shooting easy. Additionally, all lenses have similar apertures with a common maximum of T2.3. This is remarkably fast for the baseline among the entire lineup (except for the 65mm macro, which is T2.6).

Additionally, all lenses have a common 110mm front diameter. This allows shooters to use the same-sized filters on each lens, therefore saving some time, money, and truck space while shooting. It’s this eye for convenience that lets the Cooke 2x Anamorphics go the extra mile for users.

These lenses have a focal rotation of 300°, which allows for accurate focus-pulling. The Cooke primes use both imperial and metric units.

Most importantly, the Cooke 2x SF /i primes cover image circles capable of shooting Super-35 formats. This attribute is why Cooke is used on professional Hollywood productions around the board, from superhero blockbusters like Harley Quinn: Birds of Prey to period biopics like Vice.


The Cooke Special Flare lenses are built with a unique coating that amplifies the lens’ flare response. The result of the Special Flare coating on the image is an intensified blue-streak lens flare—an even-more-expressive rendition of the typical anamorphic flare.

Check out this showreel from Cooke that shows off the enhanced coating:

You may notice in the images that bokeh is rendered as oval. This is a result of the 11-bladed iris.

The oval bokeh, matched with a responsive coating in the 2x stretch, creates an immersive, highly cinematic image. Special Flare lenses have been compared to other flare-responsive lenses, such as the BLACKWING7 custom-tuned lenses, which prides itself on expressive flares. Although the Special Flare lenses are great for creating expressive images for short-form content, such as commercials and music videos—the Cooke lenses have also found great use in feature films such as Harley Quinn: Birds of Prey and A Star is Born, with the latter winning the Academy Award for Best Cinematography.


A lot has been made of “The Cooke Look”,  and rightfully so. But, history aside, these lenses produce a wonderful image with an all-around sharpness, yet with pleasing rendering of humans skin and faces onscreen. Vivid color rendition with a latitude that proves useful in post allows these lenses to be used on a wide range of projects.

The Cooke lenses are built for consistency and color-matched with other Cooke products. Therefore, footage from the Cooke Special Flare lenses can be used alongside footage without the enhanced flares, and minimal color correction is needed. It’s advances like this in modern filmmaking that allow filmmakers to experiment with their image to tell expressive, full-throated stories.



These 2x Anamorphic Primes from Cooke use the /i technology system to log useful metadata as footage is captured. Data logged through the /i system include focal length, depth of field, focus, and f-stop. Metadata like this speed up a production’s workflow from shooting all the way to postproduction, especially on projects with extensive postproduction, which rely on a sturdy VFX pipeline.

Most industry-leading camera systems are compatible with Cooke’s /i Technology. Some include ARRI, Panavision, Sony, RED, and others.



These lenses by Cooke are a fantastic variation of their /i anamorphic set. The SF coating sets these lenses apart and gives any cinematographer incredible flexibility to create expressive imagery.

Because there are seven lenses in this set, and one of those is a macro, you’ll find varying combinations of these primes as packages from different retailers. If you plan on purchasing a Cooke SF lens outright, be aware that retail prices are about $30,000 per lens, not uncommon for lenses of comparable quality.

Therefore, unless you’re about a major studio or well-funded production company, it’s best to consider renting the Cooke 2x /i SF Anamorphic primes from a regarded rental house– such as the LA-based Bokeh Rentals.

Considering renting? Why not check out Bokeh Rentals equipment packages!

•Rent Cooke Anamorphic 1.8x SF FF Primes at Bokeh Rentals

Contact us to customize a package to suit your production needs at low prices!

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The Caldwell Chameleon Anamorphic Primes

Caldwell might not be as large as Cooke or Canon, but it designs lenses just as recognizable. Its newest design, the Chameleon Anamorphic lenses, as described on the manufacturer’s site as “modern optics with a retro look”. The Chameleons have a unique look and are claimed to embody the distinct  aberrations one would expect from anamorphic lenses but with a subtle elegance.

The Caldwell Chameleon Anamorphic Lenses are designed for digital sensors. Remarkably, they use a 1.79x squeeze ratio to create images.

Additionally, Caldwell has made both a Super 35+ series and Full Frame series of Chameleons available. They can be user-configured with different rear optical groups to suit your shooting circumstances. The Super 35+ series can cover Super 35+ cameras, and they are configured to cover large format cameras like the RED MONSTRO, ARRI ALEXA LF, or the Sony VENICE. All seven lenses in the Super 35 series are uniform in size and have a minimum focus of 2.5 feet. The Full Frame series of Chameleon lenses also have seven lenses, but with somewhat different focal lengths and physical characteristics.


Chameleon Lens Package

The Super 35+ series is only one half of Caldwell’s Chameleon Anamorphic Prime lineups.




The Caldwell Chameleon Anamorphic Primes are designed to bring a vintage anamorphic appeal to modern digital cameras. For example,  in this dance film shot on Caldwell Anamorphics, you can see the classic blue streak of anamorphic flare. The soft, feathery flare (visible at 1:02) has an organic feel, compared to modern lens flares that appear sterile.

Similar to vintage anamorphics, there is the slightest aberration at the edges of the frame, causing the viewer’s eye to focus more towards the center of the frame. These nuances to the image give it a feel more comparable to vintage anamorphics than clean, modern day glass.



The Caldwell Chameleon anamorphics have a squeeze ratio of 1.8x, which differs from most anamorphic lens releases. See, optical manufacturers typically design anamorphics with a 2x squeeze ratio, giving more exaggerated image proportions. Some other lenses with a sub-2.0x squeeze factor include Cooke’s new Anamorphic/I FF primes, as well as P&S Technik’s TECHNOVISION Classic 1.5x anamorphic primes.

Although most major camera systems, such as the ARRI ALEXA LF and Sony VENICE, support 1.8x anamorphic lenses, it’s worth double checking if your camera body is compatible.

When asked why the 1.8x squeeze factor, Founder Brian Caldwell explained: ““The standard DCI (Digital Cinema Initiatives) Scope format has an aspect ratio of 2.39:1. Several years ago when we made a commitment to 1.79x many digital cameras had a native sensor aspect ratio of 4:3, or at least had a 4:3 mode. So, if you do the math, to anamorphically convert 4:3 to 2.39:1 you need a 1.79x squeeze ratio (2.39/(4/3) = 1.79). Mr. Spock would object and say the true ideal squeeze ratio is 1.7925, but we decided to round it off!

“…More recently, Full-Frame cameras are being released with a native aspect ratio of ~1.5:1, which would require a ~1.6x squeeze ratio for perfect conversion to 2.39:1. However, a 1.6x squeeze doesn’t provide the degree of anamorphic artifacts that are often desired, and it turns out that a squeeze ratio midway between 1.6x and 2x is a good compromise. We were very happy that Cooke made this very argument when they released their 1.8x anamorphics.”



The Super 35+ Series Anamorphic lenses are released in the following focal lengths: 32mm T2.0, 40mm T2.0, 50mm T2.0, 60mm T2.0, 75mm T2.0, 100mm T2.6, and 150mm T4.0.

For users that want to convert their S35+ kit to the full frame series, a conversion kit is available for purchase. Aperture/focus rings, focal length plaques, and optics can be found in conversion kits.


The Full Frame Caldwell Anamorphics are available in the following focal lengths: 48mm, 60mm, 75mm, 90mm, 112mm, 150mm, and 225mm.

The 32mm, 40mm, 50mm, 60mm and 70mm are all T2.0, while the 100mm is T2.6, and the 150mm is T4. All the lenses have a front diameter of 114mm and are only available in PL mount.


Caldwell Full Frame Anamorphics

This image from Keslow Camera indicates how rental houses may offer different variations of the full Caldwell lineup.



The Caldwell Chameleon Anamorphic Primes bring an exquisite, vintage feel to digital filmmaking. Both the Super 35+ and Full Frame Chameleon lenses cost over $20,000 each if purchased at retail value. According to a Newshooter interview from NAB ’19, some rental houses combine their Full Frame and Super 35 Anamorphic kits to create a larger selection.

Therefore, if you’re looking to rent the Caldwell Anamorphic 1.8x packages, it’s best to check in with the most reputable rental houses out there.

Considering renting? Why not check out Bokeh Rentals equipment packages!

•Rent P+S Technik TECHNOVISION Anamorphic 1.5x FF Primes at Bokeh Rentals

•Rent Cooke Anamorphic 1.8x SF FF Primes at Bokeh Rentals

Contact us to customize a package to suit your production needs at low prices!

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Ancient Optics Rehouses Minolta Rokkor Cine Primes

Although optical manufacturers get all the splashy headlines for their new products, there’s always exciting news about vintage lenses under the surface.

For example, Ancient Optics recently teamed up with GL Optics (yet again) to rehouse some vintage primes. This time, Ancient Optics is updating the vintage Minolta Rokkor lenses. These lenses have extraordinary image characteristics with high potential for our modern film vocabulary.


Ancient Optics Minolta Lenses
Ancient Optics teamed up with GL Optics to rehouse fourteen Minolta Rokkor cine prime lenses


The Minolta Rokkor lenses were originally built in the 1960s by Minolta. Minolta is a Japanese manufacturer of camera gear and general electronics, such as printers and photocopiers.

The Minolta lenses are a vintage glass from the 1970s with surprisingly shallow depth of field and a dreamy aesthetic.

Kazuo Tashima, Minolta’s Founder, called the lenses “Rokkor” after the nearby Mount Rokky. Since then, however, Minolta was purchased by Sony—making the Rokkors a rare find among cinematographers.


Rehousing Japanese vintage glass is nothing new for Ancient Optics. Their work on the Kowa Full Frame primes breathed new life into modern cinematography. The Minolta Rokkor cine primes are said to be a cost-effective alternative to the Canon K35 primes from the 1970s.

The Minolta Rokkor primes are full frame lenses, which make them usable for professional filmmaking in the modern era. There is not a universal T stop among the Minolta Rokkor prime lens set. The range of widest apertures range from T 1.3 to T2.9. Each lens has a universal front diameter of 110mm, making them perfect for swapping filters among lens.

The Rokkor rehousings are durable for modern filmmaking scenarios. The new housings are black and silver, with a golden band; the lenses’ exterior contains repositioned gears and markings.

Minolta Rokkor Prime Specs
Source: www.vintagelensesforvideo.com

The Minolta Rokkor lenses are very sharp, with a shallow depth of field that pairs well with its flexible aperture sizes. Its 11-bladed iris provides smooth, pleasing bokeh and warm lens flares.

See the Minolta Rokkor lenses in action in this demo reel from Ancient Optics:

Ancient Optics – Minolta Rokkor from Ancient Optics on Vimeo.



Although packages will vary based on availability, the most complete set of rehoused Minolta cine primes consist of 11 lenses.  The focal range of 21mm to 200mm will be expanded in the future with an ultra wide 17mm f/4 lens, and there are also plans to include a rehoused 50mm and 100mm macro lenses.

There is a very limited supply of these rehoused lenses. Inquiring about these rehoused lenses could take a while and be expensive—that can be done by contacting Ancient Optics’ Instagram Page. Your best bet is to locate them at rental houses around Los Angeles—such as Bokeh Rentals!

Considering renting? Why not check out Bokeh Rentals equipment packages!

•Rent Kowa Prominar Anamorphic Cine Lens at Bokeh Rentals

Contact us to customize a package to suit your production needs at low prices!

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HUGO 21mm Cine Prime

Leitz Announces HUGO Cine Prime FF Lenses

Leitz is one of the oldest, most-established camera manufacturers around, and it’s been innovating in optical engineering since the 1870s. Leitz even has a searchable list of hundreds of titles on its official site.

Unlike some manufacturers, Leitz has always remained faithful to its iconic look.

The newest example of this is Leitz’ HUGO lens series, a Full Frame reworking of Leitz’ naturalistic look.

Leitz HUGO 7 lens package
Leitz’ HUGO Full Frame primes were initially released as a 7-lens package. There is also an 8-lens version with a 50mm T1.0


HUGO is the newest series of Leica Format (Full Frame) cine prime lenses.

Essentially, the Hugo lenses take the same optics as the famous Leica M 0.8 lenses, but modify the mechanics for a modern design. The result: A collection of superfast, lightweight lenses for large format cinematography.

The initial set of HUGO lenses is comprised of seven focal lengths:

• 21mm

• 24mm

• 28mm

• 35mm

• 50mm

• 75mm

• 90mm

All of these primes have a speed of T1.5, which offer incredible flexibility to filmmakers.

Leitz plans to release a 50mm T1.0 lens to the kit in early 2023, which pushes an even faster aperture. There are also plans to extend the focal range of the kit by adding an 18mm and 135mm prime in the future, although no dates have been announced.

The most notable quality about the HUGO’s mechanics might be its fast aperture. At T1.5, these lenses can achieve magnificent photography. The close focus on each lens is much closer than the HUGO’s predecessor. For example, the 21mm and 24mm both have a close focus of .3m (1’0”). At the other end of the lineup, the 90mm is capable of achieving focus on objects only .85m (2’10”) away.


The HUGO lenses are built for consistency. Each lens has a front diameter size of 95mm, allowing easy transfer of filters without the use of a matte box. The lenses have an image circle of 43.3mm, perfect for large format shooting. The full frame capabilities of the HUGO lenses are a tremendous upgrade from vintage lenses. The HUGO is equipped with an 11-bladed iris, producing circular bokeh. The focus scales can be switched from feet to meters by the user. Focal rotation on every HUGO prime is 270°, allowing precise focus pulling.

The HUGO lenses are also remarkably lightweight, allowing them to compete in modern day shooting scenarios. In fact, most of the 7-lens set weighs in at under 1kg. This makes the HUGO lenses great candidates for handheld shooting and mobile rigs like Steadicams.

The HUGO lenses are all equipped with an LPL mount but can be swapped by the user onto the Leica M or Leica L mounts.

Leitz HUGO cine prime data
Source: FDtimes


It’s worth emphasizing that the HUGO primes are upgraded versions of the Leica M 0.8 lenses. The HUGO lenses have the same optical design, internal glass elements, glass and coatings of the Leica M series. The Managing Director of Ernst Leitz Wetzlar stated: “There were several reasons to introduce Leitz Hugo prime lenses: the beauty of Leica M lens images, the success of our M 0.8 series, and the opportunity to make dedicated cine lenses using beloved M lens elements”

Rainer went on to describe image characteristics of the HUGO primes: “Hugo primes are very fast and super sharp in the center. They have a pleasing fall-off toward the edges, with a painterly balance of focus, out-of-focus areas and field curvature. Slight distortion and aberrations are not overtly overly-corrected out. Bokeh may contain rainbow colors. Flares are gorgeous”

This description matches the Leitz M 0.8 look, which can be seen in the demo reel below:

Leitz M 0.8 Sizzle Reel from Leitz Cine on Vimeo.



This notion of retaining the iconic Leitz visual style and integrating it into newer builds is not new for the manufacturer. In fact, the Leica M 0.8 lenses are modified versions of the Leica Summilux and Noctilux M-mount primes, which date back to the mid-1970s. Leitz’ re-interpolation of vintage characteristics, while adapting to modern optical standards (such as minimizing barrel distortion), is what makes the HUGO primes an exceptional lens for shooters beholden to a naturalistic, vintage look.

Hercher elaborated on HUGO’s position within the Leitz legacy: “Hugo is the artist in the Leitz family of Full Frame lenses. Their history is from the 2000s to 2022, with a 90-year heritage, in a modern housing… Many of us grew up with iconic Leica images. You rarely find a DP shooting a movie with just one set of lenses. Now you can shoot with crystal clear Leitz Primes, easy-going Elsie, and now with the special look of Hugo”


Leitz has released a remarkable upgrade with the HUGO Full Frame prime lenses.

The 7-lens HUGO set costs $114,600 retail from B&H Photo. The 8-lens Hugo package, which includes the 50mm T1.0, costs about $132,550. Although individual lenses are harder to find at the moment, they go for about $20,000.

Unless you’re a well-equipped production company or a rental space, the cost of the entire HUGO FF package doesn’t justify its use. Therefore, your best bet is probably to lease equipment from a reputable rental house.

Considering renting? Why not check out Bokeh Rentals equipment packages!

•Rent Leitz lenses at Bokeh Rentals

•Rent the Leica Summilux-C Prime Set at Bokeh Rentals

Contact us to customize a package to suit your production needs at low prices!

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