The ARRI Ultra 16 series represents the pinnacle of optical engineering for the Super 16mm format. Developed in partnership between ARRI and Zeiss, these lenses were designed to provide the same high-end performance found in 35mm “Master Primes” but specifically optimized for the smaller S16 image circle.
They are the primary choice for filmmakers seeking a modern, sharp, and high-contrast look on 16mm film or digital sensors, effectively elevating the format to its highest possible image quality.
Key Features:
Super Fast T1.3 Aperture: All lenses in the set share a consistent, ultra-fast T1.3 stop, allowing for exceptional low-light performance and a shallow depth of field rarely seen in the 16mm format.
Complete Focal Range: The set typically includes nine focal lengths: 6mm, 8mm, 9.5mm, 12mm, 14mm, 18mm, 25mm, 35mm, and 50mm.
Precision Optics: Features T* XP anti-reflex coating for high contrast, minimal flare, and rich blacks.5 Aspherical elements are utilized to eliminate geometric distortion, even on the widest lenses.
Superior Ergonomics: Each lens features a uniform 95mm front diameter and identical gear positioning, allowing for rapid lens changes without moving matte boxes or follow-focus motors.
Super Color Matched: Their color profile is precisely calibrated to match ARRI Master Primes and Ultra Primes, making it easy to intercut 16mm footage with 35mm footage in the same production.
Minimal Focus Breathing: Optical design ensures that the frame size remains stable during focus pulls, preserving the cinematic feel of the shot.
Extreme Close Focus: Engineered to maintain sharpness and contrast at very close distances, with the 6mm lens reaching as close as 8 inches (0.2m).
Cost: TBD
(t)
Max
Spain
Zeiss Distagon and Planar lenses for the Canon EF mount (designated as the ZE series) are world-renowned manual-focus prime lenses. They combine traditional German optical excellence with modern electronic integration, offering a “cinematic” look that has made them favorites for both high-end photography and independent filmmaking.
The ZE (EF-mount) series consists of the Classic and the newer Milvus lines. These lenses use two primary optical designs:
Distagon: Used for wide-angle focal lengths (e.g., 15mm, 21mm, 35mm). It uses a retrofocus design to provide high resolution and low distortion across the frame.
Planar: Used for standard and telephoto lengths (e.g., 50mm, 85mm). This “symmetrical” design is legendary for its natural rendering, high speed (wide apertures), and corrected aberrations.
Key Features:
T Anti-Reflective Coating: A proprietary multi-layer coating that virtually eliminates flare and ghosting while ensuring the famous “Zeiss Color” (vibrant, natural skin tones).
All-Metal Construction: Built with high-precision metal barrels and mounts for extreme durability and a tactile, professional feel.
High-Precision Manual Focus: Features a long-throw focusing ring with dampened movement, allowing for incredibly minute adjustments—essential for video and shallow depth-of-field work.
Electronic Aperture Control: Unlike the Nikon (ZF) versions, the EF (ZE) lenses do not have a physical aperture ring; the iris is controlled directly via the camera body.
Full-Frame Coverage: Designed for 35mm sensors but fully compatible with APS-C (Crop) cameras.
Consistent Aesthetics: The set is color-matched, meaning you can swap lenses during a shoot without needing significant color grading to match the footage.
cost: 2,500 EURO
(t)
Marko Procházka
marko@filmsupport.sk
1-7-2026
The ZEISS ARRI Ultra 16 series represents the pinnacle of Super 16mm cinematography. Developed through the legendary partnership of ARRI and ZEISS, these lenses were designed to bring “Master Prime” quality to the Super 16 format. They are celebrated for their extreme sharpness, high contrast, and remarkably fast T1.3 aperture.
The Ultra 16 set typically consists of nine high-performance prime lenses covering a focal range from 6mm to 50mm. Designed to complement Super 16 film cameras (like the ARRIFLEX 416) and modern digital sensors, they offer a clean, “clinical” look with minimal distortion. Their uniform design makes them a favorite for fast-paced productions, gimbals, and handheld work.
Key Features:
Ultra-Fast T1.3 Aperture: Provides exceptional low-light performance and the ability to achieve a shallow depth of field, which is traditionally difficult in the 16mm format.
Superior Optical Quality: Features T XP multi-layer anti-reflex coating to maximize contrast and drastically reduce flares or internal reflections.
Consistent Ergonomics: All lenses in the set share a 95mm front diameter and identical gear positions, allowing for rapid lens changes without adjusting follow-focus or matte box setups.
Precision Mechanics: Engineered for minimal focus breathing and near-zero chromatic aberration, ensuring straight lines remain straight even at wide angles.
Color Matching: Super Color Matched to intercut seamlessly with ARRI Ultra Primes and Master Primes, providing a consistent look across multi-format shoots.
Close Focus Ability: Optimized to maintain sharpness and resolution even at the minimum object distance (as close as 8 inches for the 6mm).
Cost: 45k Euro
(t)
James Coote
cootejam@gmail.com
+33761366162
1-6-2026
The TLS Cooke Speed Panchro lens set represents the “gold standard” of vintage lens rehousing. True Lens Services (TLS) takes original Cooke Speed Panchro glass (Series II and III) from the 1920s–1960s and transplants it into modern, high-precision cinema housings.
The result is a set of lenses that retains the legendary “Cooke Look”—characterized by warm skin tones, painterly bokeh, and a gentle focus fall-off—while providing the mechanical reliability required for high-end digital cinema productions.
Key Features:
Modern Mechanics: Replaced archaic housings with a robust “cam-driven” focus system, ensuring smooth, repeatable focus pulls with zero image shift or backlash.
Standardized Workflow: All lenses in the set feature matching 110mm front diameters and standardized 0.8 MOD gearing for focus and iris, allowing for quick lens changes without moving follow-focus motors or matte boxes.
The “Cooke Look”: Retains the vintage optical soul—specifically the low contrast, pleasing flares, and “creamy” textures that flatter human faces better than modern, “surgically sharp” lenses.
Durability: Constructed from aircraft-grade aluminum, stainless steel, and brass, making these delicate vintage optics tough enough for modern sets.
PL Mount Integration: Native PL mounts with shimmable precision, making them compatible with all professional cinema cameras (ARRI, RED, Sony, etc.).
Super 35mm Coverage: Primarily designed for Super 35mm sensors, though longer focal lengths (like the 75mm and 100mm) can often cover larger formats.
Cost: 50k USD
(t)
Jeremy Chen
jeremychen@mdvision.cn
1-6-2026
Includes:
Leica Summilux-C 18mm
Leica Summilux-C 25mm
Leica Summilux-C 35mm
Leica Summilux-C 40mm
Leica Summilux-C 50mm
Leica Summilux-C 65mm
Leica Summilux-C 100mm
Renowned for their exceptional sharpness, consistent color rendering, and beautiful contrast, Summilux-C lenses are a standard on high-end film and commercial productions. The set offers fast apertures, smooth focus rotation, and precise mechanics, making it ideal for narrative, commercial, and studio work where optical consistency and reliability matter most.
Key features:
Complete 8-lens Summilux-C prime set
Focal lengths: 18, 25, 35, 40, 50, 65, 100mm
Matched color, contrast, and T-stop performance
Smooth, precise cinema focus and iris control
Industry-standard Leica cinema optics
Code:
Cost TBD
December 31, 2025
(M)
Gaurav
Gaurav Gupta??
gaurav.gupta@futureworks.in
Canon FD lenses, produced between 1971 and the early 1990s, are legendary manual-focus optics. Originally designed for Canon’s 35mm SLR film cameras like the AE-1 and F-1, they have seen a massive resurgence in the digital era due to their “vintage” character and high adaptability to mirrorless systems.
Key Features and Benefits
Aesthetic Character: Known for a “lower contrast” look, warm color rendering, and smooth, organic bokeh that feels more “filmic” than modern, ultra-sharp digital lenses.
Mechanical Precision: Features all-metal barrels (especially the older “Chrome Nose” versions) and tactile, mechanical aperture rings and focus throws.
K-35 Heritage: Several high-end FD lenses (like the 24mm f/1.4 and 85mm f/1.2) share optical designs with the Academy Award-winning Canon K-35 cinema lenses, making them a “budget” alternative for filmmakers.
Variety of Mount Styles: * Breech-lock (Original FD): Uses a silver rotating ring at the base to secure the lens.
New FD (nFD): Uses a bayonet-style twist-and-click mechanism for faster lens changes.
Advanced Coatings: Most models feature S.S.C. (Super Spectra Coating), which effectively reduces flare while maintaining a distinct, vintage flare character under direct light.
Excellent Adaptability: Because of their short flange focal distance, they can be easily adapted to Sony E, Canon RF, Nikon Z, and Fujifilm X mirrorless mounts with inexpensive adapters.
cost: TBD
Marko Procházka
marko@filmsupport.sk
R-12/30/25
Price investigation:
Newlifecine: Has a Canon FD Aspherical Set of 6 in 29,800
Justcinemagear: Has a Canon Compact Prime CN-E 6 set in 16,650
AI Says:
As of late 2025, the average price for a used Canon FD 5-lens set varies dramatically based on whether the lenses are in their original “photo” state or have been modified for professional cinematography (Cine-modded).Because “standard” sets are usually built by individual sellers or collectors rather than sold as factory kits, the price is the sum of the most popular focal lengths: 24mm, 28mm, 35mm, 50mm, and 85mm.
Average Price by Set Tier
Budget “Starter” Setf/2.8 Primes (Mixed SC/nFD)$650 – $950
Premium “High-Speed” Setf/1.4 or f/2 Primes (S.S.C. focus)$1,400 – $2,200
Cine-Modded SetEF-converted, Gears, 80mm Rings$3,500 – $6,500
Professional Re-housedTLS or GL Optics (Full Cinema Housing)$45,000 – $120,000+
The ZEISS Supreme Prime Radiance lenses are high-end cinema optics designed to offer a unique “character” look without sacrificing modern performance. They are essentially a specialized version of the standard Supreme Primes, modified to produce distinct, aesthetic flares while maintaining high contrast and resolution.
Key Features:
T Blue Coating: A specialized lens coating that enables beautiful, blue-tinted flares when aimed at light sources, yet maintains standard high-contrast performance under normal lighting.
Controlled Flaring: Unlike vintage or “uncoated” lenses that can “white out” or lose all contrast, the Radiance set allows for predictable and reproducible flares that you can plan into your shots.
Warmer Color Palette: These lenses provide a slightly warmer skin tone and overall color rendition compared to the neutral look of standard Supreme Primes.
Full-Frame Coverage: Features a large 46.3mm image circle, making them compatible with modern large-format sensors like the Sony VENICE or ARRI ALEXA LF.
High Speed (T1.5): The fast aperture across the set (ranging from 18mm to 135mm) provides exceptional low-light performance and shallow depth of field.
eXtended Data Technology: Records frame-accurate metadata (shading, distortion, and focal distance), which is invaluable for accelerating VFX workflows in post-production.
Uniform Ergonomics: Consistent placement of focus and iris rings across the set ensures fast lens changes and easy integration with follow-focus systems.
Cost: TBD
(t)
Gaurav Gupta
gaurav.gupta@futureworks.in
12-30-2025
Angenieux 5.9mm T2 (often designated as the Type R7) is one of the most iconic ultra-wide lenses in the history of 16mm cinematography. While originally designed for standard 16mm, many copies have been modified or “cleared” to cover Super 16mm. It is famously a fixed-focus lens, relying on its massive depth of field to keep the entire frame sharp.
Extreme Wide-Angle Perspective: Offers a sweeping field of view that is ideal for tight spaces, expansive landscapes, and high-energy handheld work.
Fixed-Focus Reliability: Since the lens has no focus ring, it eliminates the need for a focus puller; nearly everything from ~20 inches to infinity remains in focus at most apertures.
Fast T2 (f/1.8) Aperture: Exceptional light-gathering capabilities for such a wide focal length, making it a favorite for “available light” documentary shooting
Signature French Optics: Known for the classic “Angenieux look”—soft, pastel-like color rendering and a pleasing, organic contrast that takes the edge off digital sensors.
Rectilinear-ish Rendering: While it has some noticeable barrel distortion due to its extreme width, it is designed to maintain a relatively natural perspective compared to a fisheye.
Compact Form Factor: Its small size and lightweight build make it perfect for vintage “run-and-gun” setups, crash cams, or modern gimbal use.
Cost: TBD
Taywan
Harper Lai
shk99318@gmail.com
R-12.29/25
—–
Price Investigation:
Newlifecine: no units
Justcinemagear: no units
AI says:
Market Pricing Overview
Prices for this lens vary primarily based on the mount type and whether it has been serviced for modern use.
Average Price Range: $850 – $1,500 USD
Budget Tier ($600 – $800): Often found in older Arri Standard or Arri Bayonet (B-mount). These are often “as-is” with internal dust or slight cleaning marks.
Mid-Tier ($900 – $1,200): Units adapted to Micro Four Thirds (MFT) or Sony E-mount for use on cameras like the Blackmagic Pocket Cinema Camera (BMPCC) or Sony Alpha series.
High-End ($1,400 – $1,800+): Lenses that have been professionally converted to a permanent PL Mount or those in “Near Mint” condition with a recent CLA (Clean, Lubricate, Adjust).
Optex 8mm T2 (often part of the “Super Cine” series) is a high-performance wide-angle prime lens designed specifically for the Super 16mm (S16) format. While it is not as extreme as the 4mm version, it is prized for its ability to provide a wide field of view with significantly less distortion than competing lenses of the era, making it a staple for music videos, documentaries, and “indie” cinema.
True Rectilinear Optics: Unlike fisheye lenses, it is engineered to keep straight lines straight, making it excellent for architectural shots or tight interiors.
Fast T2 Aperture: The wide aperture allows for filming in low-light conditions and offers more control over depth of field than slower wide-angle glass.
Superior Contrast & Color: Renowned for having better contrast and more “pop” than the older Zeiss 8mm Distagon, while still maintaining a classic filmic texture.
Close Focus Capability: With a minimum focus distance of approximately 15 inches, it allows for intimate, wide-angle close-ups with a unique sense of scale.
Organic Flare Character: Known for producing a “cool rainbow flare” and gentle halation when pointed at light sources, adding a dreamlike quality to the image.
Robust Cine Housing: Typically features standard 0.8 pitch gears for focus and iris, making it fully compatible with modern follow-focus systems and cinema rigs.
Cost: TBD
Taywan
Harper Lai
shk99318@gmail.com
R-12.29/25
—–
Price Investigation:
Newlifecine: no units
Justcinemagear: no units
AI says:
Market Pricing Overview
Based on specialized cinema equipment brokers and recent global listings:
Average Price Range: $3,800 – $6,500 USD
Recent High-End Listings: Professional brokers (like FJS International or Du-All Camera) have recently listed pristine, fully serviced units for as high as $8,500 USD.
Entry-Level / Private Sales: Well-used copies or those sold via private forums typically surface between $3,800 and $4,200 USD (approximately €3,500 – €3,800).
The Zeiss Super Speed S16 lenses are legendary prime lenses specifically designed for the Super 16mm (S16) film format. Originally introduced in the 1970s and refined through Mark II and Mark III versions, they remain a top choice for cinematographers seeking a vintage, “filmic” aesthetic on modern digital sensors like the Blackmagic Pocket Cinema Camera 4K or the Arri Alexa 35 (in S16 mode).
Key Features:
Ultra-Fast T1.3 Aperture: Allows for exceptional low-light performance and a shallow depth of field rarely seen in the S16 format.
Signature “Zeiss Look”: Features the famous T multicoating*, which offers high contrast and vibrant color reproduction while maintaining a gentle, vintage fall-off.
Minimal Focus Breathing: Designed for cinema, these lenses exhibit almost no change in focal length when racking focus.
Compact & Lightweight: Their small form factor makes them ideal for handheld shooting, gimbal work, and tight spaces.
Vintage Character: Wide open, they produce a soft, dreamy glow and beautiful flares; stopped down, they become impressively sharp and clinical.
Professional Housing: Mk II and Mk III versions feature integrated 0.8 pitch gears and consistent 80mm front diameters for easy use with follow focus systems and matte boxes.
Cost: TBD / 15,000 USD
(t)
Harper Lai
shk99318@gmail.com
12-29-2025
