Canon Rangefinder 50mm GL Optics

Canon Rangefinder Primes | Vintage Rehousing


As always, Bokeh Rentals has acquired the newest, most exciting vintage glass.

This time, it’s the Canon Rangefinders, an historic series of primes from the mid-twentieth century.

Except now, they’ve been maintained, improved, and optimized for digital filmmaking– leaving us with a set of ten beautiful, low contrast, flattering primes with modern-day filmmaking amenities.

Canon Rangefinder 50mm GL Optics



The Canon Rangefinders were built by Canon in the Post-WWII period of optical manufacturing. Bokeh Rentals’ rehoused Rangefinder lenses originate from the 1960s—and their inherent visual characteristics have been trapped in amber and presented to the digital filmmaking world by True Lens Service, a recurring hero in the Bokeh Rentals-verse.

The Canon Rangefinder set was made possible by True Lens Service, a UK-based lens service provider. The company is responsible for all the best vintage lenses on the rental market, such as the hugely popular Canon K35s or the Kowa FF primes.

The limitations of the PL mount kept lens technicians from rehousing the Rangefinders for years. However, the recent development with digital cameras allowed True Lens Service to properly rehouse these vintage Canon Rangefinders.


The Canon Rangefinder set was made possible by True Lens Service, a UK-based lens service provider. The company is responsible for all the best vintage lenses on the rental market, such as the hugely popular Canon K35s or the Kowa FF primes.

The limitations of the PL mount kept lens technicians from rehousing the Rangefinders for years. However, the recent development with digital cameras allowed True Lens Service to properly rehouse these vintage Canon Rangefinders.



As you can see in the above reel, these rehoused primes are sharp in the center with gentle focus falloff to the corners, lending a subliminally vintage look.  Skin tones are rendered with a pleasant creaminess, lending human subjects a flattering patina.

Similar to other vintage looks, the Rangefinders have a single layer coating that is responsible for an organically enhanced flare response. These flares are warm in tone, opposed to modern builds that emphasize cooler flares, especially on anamorphic lenses. The Rangefinders’ single-layer coating also produces a low contrast image, reminiscent of vintage imagery.


The Canon Rangefinders’ original mounts have been replaced with the ultra-modern LPL lens mount, invented by ARRI for digital cinematography. The full lens package has a universal front diameter of 110mm, which means that these on-lens accessories like filters and lens mounts can fit all lenses—cutting out the need for additional rentals.

The Canon Rangefinders have exceptional low light performance. The lenses have T-stops ranging from T0.95 to T3.5, which are fantastic, even compared to the state-of-the-art glass manufactured nowadays.

Also improved in the rehousing are the lenses’ close focuses. Since certain lens elements have been made unnecessary by the LPL mount, lens technicians at TLS and GL Optics were able to improve the lenses’ close focus capabilities. The close focuses for the Rangefinders range from only 10” (19mm) to 3’9” (135mm).


GL Optics has done a fantastic job rehousing a classic vintage series from the world’s most historic optical manufacturer. At a price astoundingly more affordable than other vintage glass, Bokeh Rentals’ 10-lens Rangefinder set is definitely worth a try for organic flares, low contrast warmth, and pleasingly soft subjects.

Check out Bokeh Rentals’ Los Angeles and Las Vegas inventory to secure state-of-the-art glass for your next production!

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

•Rent The Canon Rangefinder Vintage Primes at Bokeh Rentals

•Rent TLS Canon 50mm “Dream” Rangefinder T0.95 Prime at Bokeh Rentals

•Rent TLS Canon K35 Primes at Bokeh Rentals

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

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Vintage Kowa Full-Frame Primes | Rehoused by TLS & Ancient Optics


Thanks to modern lens technicians and resellers, vintage glass is never going out of style.

An exciting new acquisition from Bokeh Rentals is a rehousing of vintage Japanese primes from the 1960s.

Not to be confused with the Kowa Prominars or Kowa Anamorphics, the Kowa FF primes are exemplary lenses from the 1960s that have been rehoused for modern filmmaking. The rehousing was done by TLS and Ancient Optics, and features seven primes with focal lengths from 19mm to 200mm.

Kowa FF 50mm



Kowa is a Japanese company that manufactured cameras between 1954 and 1978.

These TLS/Ancient Optics rehoused lenses were originally manufactured in the ‘60s-‘70s as still photo lenses for particular Kowa SLRS with leaf shutters (an interesting period in camera design). But, nowadays, the elements of the still photo design mixed with certain optical traits of the period– such as the tactile barrel distortion and sensitive flare response– make these decades-old Kowa perfect material for a modern day prime.

Kowa lenses have their own cottage industry of rehousings. For example, Bokeh Rentals also carries the KOWA Prominar anamorphics, rehoused by P+S Technik.

Their continued success among rehousing technicians and resellers is owed to the unique, naturalistic image characteristics of the period.

Image Characteristics

KOWA FF lenses have soft, naturalistic flares, distinct bokeh, and exceptional color production. The soft bokeh is circular at all stops as a result of the new 14-bladed iris that Ancient Optics and TLS included in the rehousing.

Like many vintage lenses the Kowa FF are sensitive to light flares. Although this can be fixed with things like polarizing lenses, this flare-sensitive, naturalistic look lends a tactile feel to the optics—in contrast to the cold, sterile look of many modern lenses. The flares have a gold-and-purple look, which comes off as lively compared to the steely-blue streaks of anamorphic glass, such as the Kowa Prominars.

Also reminiscent of vintage lenses are the Kowa’s pleasing focal falloff. The deep focal plane allows users to capture deep landscapes with astounding detail and pleasing fall-off. Check out the demo below, especially the daytime exteriors on wide angles, to see the Kowa FF primes in action.

Rehoused Vintage Kowa Full Frame Lens Test from OLD FAST GLASS on Vimeo.



As you can see in the above reel, these rehoused primes are sharp in the center with gentle focus falloff to the corners, lending a subliminally vintage look.  Similarly, the soft, ovular bokeh captures the feel of 1960s film, unlike more stylized bokeh of modern optical manufacturing.

These lenses showcase the maximum of their vintage character when wide open. The Kowa FFs have some barrel distortion on wider lenses for a tactile feel and render sharp images (as they were originally still photo lenses).

Despite their vintage qualities, these primes perform competitively among modern glass, thanks to their sharpness and excellent color reproduction.


In their rehousing, True Lens Service and Ancient Optics built glass that not only can survive decades longer, but actually competes well among modern optical technology. In updating these ’60s lenses, the technicians built lenses that can cover full-frame sensors. Every lens in the series safely covers the ARRI ALEXA LF Open Gate sensor without any vignette.

The minimum close focus distance of each lens has been improved in the rehousing. Every single lens has 110mm front diameters, 330° focal rotation for accurate focus pulling, and the industry-standard .8 MOD gears.


Kowa’s still photo lenses have been rehoused into beautiful, organic optics for modern day filmmaking. Capture full frame images with all the bells and whistles of tactile, vintage optics– like barrel distortion, pleasing fall-off, and warm flares.

Check out Bokeh Rentals’ Los Angeles and Las Vegas inventory to secure state-of-the-art glass for your next production!

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

•Rent Ancient Optics TLS Kowa Full Frame Primes at Bokeh Rentals

•Rent P+S Technik Kowa Prominar Anamorphics at Bokeh Rentals

•Rent Kowa Cine Prominar Primes at Bokeh Rentals

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

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Mamiya 645 Primes | Newly Rehoused by TLS


Through all the horseracing about the newest glass for high-end digital cinema cameras, it’s easy to forget about the more expressive lenses out there.

There may be the Angenieux EZ-3 Cinema Zooms and the Hawk V-Lites—but then there’s the rehoused primes of the Mamiya 645 stills camera.

Gentle, dreamier optics with the latitude to handle verité or studio scenarios—the Mamiya 645 primes


Bokeh Rentals’ new Mamiya lenses originated from the Mamiya 645, a medium format stills camera with an elegant, softer optical style.

The original Mamiya 645 film camera is used for both studio photography and street photography. It has the latitude capable of handling natural light environments, such as the diner portraits in the video below. But, when taken into a studio for photography with models, its softer optics lend a dreamier, loose aesthetic to more orchestrated setups.

Check out the video below to see the Mamiya 645 lenses in action with its original camera body.

Because of the Mamiya’s unique imagery, the technicians at England’s True Lens Service rehoused and retooled the primes for modern digital filmmaking. Not only were optics preserved, but lens mechanics were improved across the board.

Upgraded, Rehoused Primes

LPL Mount

Third party adapters exist to use the Mamiya lenses on Nikon F-mount, Canon EF mount, and other camera systems. And they’re not particularly expensive. But, using third party adapters can carry the risk of not perfectly preserving the optics and all functionality.

So, TLS technicians elected to convert the Mamiya lenses to the LPL mount, the newest universal lens for digital capture.

In addition to compatibility with top digital cinema cameras like the ARRI ALEXA, the LPL mount allows lens data to transfer using the LDS-2 system by ARRI.

Speed Booster

True Lens Service installed a new circular iris with a built-in speed booster. Now that the Mamiyas have a speed booster built inside the housing, each lens is now slightly wider. For example, once retooled by TLS, the Mamiya 110mm prime has become a 77mm that can cover full-frame sensors. Other lens modifications include the 38mm (originally 56mm) and the 56mm (originally 80mm).

An added benefit to the internalized speed booster is that each rehoused lens is now a stop faster.

Mamiya 645 primes specs

TLS also offers a PL mount option without the speed booster, for those who prefer the original focal lengths.


The Mamiya primes’ rehousing features a cam-driven focus system and chassis style lens that allows accessories to be attached to the lens. This enables the use of tools like matte boxes and follow focuses. Additionally, the exterior is outfitted with accurate markings and precision mechanics.

The new, rehoused exterior is lightweight and durable with its aluminum alloy, stainless steel, and brass composition.




The Mamiya 645 primes, newly rehoused by TLS, bring a beautiful, previously-analog image to digital filmmaking.

Check out Bokeh Rentals’ inventory to bring the unique, soft imagery of the Mamiya 645’s to your next production.

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

•Rent The Rehoused Mamiya 645 Primes at Bokeh Rentals

•Rent The Angenieux EZ-3 Convertible S35 and Full-Frame/VistaVision Zoom Lens at Bokeh Rentals

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

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Angenieux EZ Zoom Cinema Lens

Angenieux EZ-3 Cinema Zoom Kit | Super-35 to Full-Frame in 5 minutes

Angenieux has announced the EZ-3 Convertible S35 and Full-Frame/VistaVision Zoom Lens– the latest addition to the EZ cine-lens series.

The EZ-3 is based on a similar philosophy as the earlier EZ-2 and EZ-1, with significant updates. Whereas its predecessor had shorter lenses and zoom ratios of 2.7x, the newer EZ-3 is capable of 3.7x Zoom with a predominantly telephoto lens size.


The key innovation of the EZ-3 is its ability to swap between Super-35 and FF/VV capture.

Users can jump between these capture formats within five minutes by undoing screw-mounted rear optical blocks and focus/aperture scales.

An important thing to understand before framing up any shots is that the Full-Frame rear group functions as a 1.5x extender. Because Super35 is slightly smaller a format than Full-Frame, it can operate with a somewhat wider aspect ratio. The 45mm T2.3 end of the Super-35 format optics is converted into 68mm T3.5 when the IRO is set to Full-Frame.

Below are Angenieux’s instructions for switching out the IRO in under five minutes:

Angenieux instructions for EZ-3 Cine lens' interchangeable Rear Optics

For those who prefer a more hands-on demonstration, Angenieux posted a video demonstrating the IRO.



Beyond its IRO selling point, the EZ-3 is an excellent cine lens on its own merits.

Zoom Ratio

The EZ-3’s 3.7x zoom ratio helps turn wider medium shots into tight closeups, condensing a series of prime lenses into one piece of glass. This convenience might not be necessary for controlled environments, where cinematographers with extra time can swap lens sizes between set-ups; but a versatile zoom lens can make all the difference for run-and-gun style filming, such as documentaries.

Focal Range Aperture Image Circle
Super 35 45-165mm T2.3/T3 30.4
Full-Frame/VV 68-250mm T3.5/T4.5 46.3


PL Mount

The Angenieux EZ-3 ships with an ARRI PL mount, the industry standard for cinema cameras. The RF, E, and EF mounts can be purchased separately for use with the EZ-3. For reference, the ARRI ALEXA and most top-of-the-line digital cinema cameras use the PL mount; Canon SLRs use the EF mount; certain Sony camcorders and mirrorless cameras use the E mount; and the RF mount is a 2018 Canon invention for certain mirrorless cameras.

Compact Form Factor

Lightweight metal makes up the lens’ 265mm exterior. The EZ-3 is remarkably light, weighing at 5.7lbs/2.6kg, remarkable for a full-frame lens with such a vast zoom ratio. Compare that to Angenieux’s Optimo Ultra 12—which has an unwieldy weight of 28 lbs.



This is America music video used the Angenieux EZ series lenses (EZ-1), no doubt due to its compact form factor, which allowed for intricately long takes. Additionally, DoP Larkin Seiple made subtle uses of the EZ’s extensive zoom ratio, most noticeably when zooming in at 2:36 to frame Donald Glover in a closeup. This is America later won the Best Music Video award at the 61st Grammy Awards.



The EZ-3 cinema lens has a beautiful, cinematic image that matches with Angenieux’s flagship Optimo series. The lens has exceptionally wide coverage without much distortion. While their versatility make them a great tool for any music video or run-and-gun shoot, Angenieux’s EZ series lenses have been used on a variety of theatrically-released films, such as House of Gucci back in 2021.

Focus Gears

The Angenieux EZ-3 has standard .8 MOD gears for attachments like matte boxes and follow focus rigs. Its focus gears have 360° of focus rotation, enabling precise focus pulling on set.

Focus scales are in both feet and meters. Markings are luminescent for shooting dark scenarios.

There is slight focus ramping on the EZ-3 in certain shooting modes, which is not surprising considering the compact form factor mixed with exceptional coverage.


Manual Lens Control Rings


As an added bonus, the EZ-3 shares the same 114mm front diameter as the previous EZ series and other Angeinuex OPTIMO lenses, saving cinematographers the trouble of purchasing separate matte boxes and accessories.

The EZ-3 has a 105mm thread at the front, allowing filters to be added to the front of the lens.


AngenieuxEZ3 specs





Angenieux’s new EZ-3 is already in high demand as the pre-ordering period begins—and the cinema lens is priced at $19,300 retail. Some accessories on the market include RF, E and EF mounts, transport cases, lens hoods, and front protective glass.

If you’re not a well-funded production company or rental house, your best option is probably to rent. While the EZ-3 is still in its preorder phase, it will be available soon to rent.

So, why not check out Bokeh Rentals?

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

•Rent The Angenieux EZ-1 Convertible S35 and Full-Frame/VistaVision Zoom Lens at Bokeh Rentals

•Rent The Angenieux EZ-2 Convertible S35 and Full-Frame/VistaVision Zoom Lens at Bokeh Rentals

•Rent The Angenieux EZ-3 Convertible S35 and Full-Frame/VistaVision Zoom Lens at Bokeh Rentals

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

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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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