16ozstudio carries an impressive range of PL glass. We have 40+ PL or LPL lenses available in-house. There is also a impressive range of interesting stills glass available, which is very easy to use on the Red DSMC2 cameras after a quick lens mount swap.
Cinema Glass (PL + LPL).
As with all 16oz investments a lot of research was undertaken before decisions are made. The conclusion was a mix of lenses that allows us to produce any type of image needed. At one end we have the class defining pristine-ness of the Arri Signature Prime. These are quite simply the best ‘good’ lenses ever made. They are super high resolving, bigger than VisataVision covering, fast, smooth and super clean. If more interesting ‘funky’ analogue flaws are wanted we engage Cookes Classic Panchros /i. Their optical design has shot countless films from the 30s onwards and their pink/purple flares are unmatched for beauty work! The cinema market has changed a lot in the last few years and the biggest optical bargin we have ever seen is Sigma’s Cine prime. Fast, sharp, light and easy to use there is nothing to fault them for the price. Zooms are very important for efficient fast work and the best looking zooms are all from Angenieux from the Optimo's line of Cinema Zooms. When we need longer or wider the two interesting lenses are the TLS Morpheus 80-200mm and the Duclos 11-16mm. For gimbal work we aften reach for a P+S rehousing of Sigmas 18-35 T2 zoom. At less than a kilo is is very useful. We also have had some interesting one off PL Tilt lenses made for us and a couple of secret exotic treats. Optics does not stop with lenses and with modern digital sensors resolving at 4k+ you must also consider the role of diffusion. We have tested every diffusion filter made and understand how each filter we carry affects the optical formulas of the imaging system as a whole. Some of our diffusion filters are one-off samples and custom made magic. We also take advantage of the removable OLPF system in the recent Red cameras to allow behind the lens diffusion.
What lenses are right for a project?
PL + LPL prime lens sets
ARRI Signature Primes are miracles of modern optics. They are lenses that are not only fast, but also surpass all standard and high speed primes in their image performance. They cover beyond Vistavision and also are the 1st cinema lens truly designed exclusively for digital imagers. Signature primes lenses offer consistent optical quality across the t-stop and focus scales and display absolutely no breathing. Their fast speed (T1.8/f1.6) opens up creative opportunities. We use the Signatures when we want to have the very highest resolution of pictures or need their buttery smooth modern look. If you need exact but with a easy going attractive picture they are the perfect lens. We belive there is simply no better choice than the Signature Prime lenses for premium large format digital productions shooting spherical.
Now if clean modern images are not your bag. The signatures novel magnetic rear net and filter holder allows a easy way not break up the image in lots of different creative ways. 16oz has a set of custom optical diffusion the drops straight into the rear holder.
Cooke Speed Panchro /i are based on a classic design from the 1920s. Their look is baked into the collective subconscious as they have probably been used to shoot more great films than any other optical design. We use these lenses when we want an analogue or vintage feel or simply want to enjoy beautiful pink and purple flares. If you need instant people friendly images they are a bit of a no brainer. The Bokeh is more painterly than creamy and their performance is far from modern but still very easy to use and there are not bad lenses in the set.
Despite the marvel of the signatures these are probably our favourite lenses. What is also fantastic about this set is that they all match perfectly and /i data flows into our red cameras for when VFX need this critical data.
Available in focal lengths: 18, 25, 32, 40, 50, 65 MACRO, 75, 100, 152mm.
Sigma Cine Prime lenses
We where completely shocked when we 1st tired these lenses. They are nearly too good to be true. Cost effective, fast, light, sharp and easy to use. There is no excuse anymore for using bad glass.
If you want bright sharp images these are a fantastic option!
Super 35 Illumina lenses (Jekyll and Hyde glass)
This set of 5 lenses is very interesting and offers special picture opportunities that are difficult to replicate with most high quality modern glass.
The lenses are from Russia. LOMO optical design Bureau, St. Petersburg, Russian Federation. The glass is supplied to LOMO specs by Schott of Germany.
Between T1.3 and T2 these lenses offer interesting aberrations and artefacts. Flares, smearing and a crazy Bokeh. You get a lot of the fun of old anamorphic glass without the hassle. Combine these lenses with some Tiffin Glimmer glass or Pearlescent filters and you can produce some really lovely organic flattering beauty work.
However when you stop down to T2.8+, they are actually very very sharp and modern…hence Jekyll and Hyde glass.
The three Angenieux Optimo zooms we have provide focal length options from 16 to 120 mm. We also have the ability to extend the range of the longest lenses the Optimo 45-120mm with a 2x extender. The 16-42 and 30-80 are from the DP series and have a rear that precludes their use with a motion mount but are otherwise excellent. All 3 lenses are extremely light weight (about 2kg each). This allows perfect camera balance on the shoulder and for quick easy positional work when using an easy-rig.
80-200mm Morpheus Zoom
Back in 2005 TLS were asked by ARRI Media in Uxbridge to re-design the Nikon 80-200mm/T2.8 for the then upcoming 2006 Bond reboot ‘Casino Royale’. TLS redesigned the zoom, focus and iris mechanics, added 0.8 pitched gears, extended the focus rotation to 180 degrees. Unlike all other PL 120mm and greater lenses, the 80-200 is designed to be lightweight at 2.3kg and is ideal for hand held, small camera setups and remotely operated rigs. The optical design of the Nikon lens exhibits good optical performance and is a decent LW extension of the zoom range of the LW optima lenses. The 9-leaf iris generates round, out of focus highlights and an organic bokeh.
Duclos PL 11-16mm ultra-wide angle lens
Duclos Lenses has developed a conversion process for the Tokina 11-16mm ultra-wide angle lens. They improved the optical performance (for precise axial alignment) and stabilised the image while focusing and zooming. The final product is a small lightweight lens perfectly capable of holding it’s own against the likes of other motion picture optics, all with a precision one-piece machined stainless steel PL mount.
Tilt and Shift lenses
The fantastic 28/2.8 Schneider PC lens was modified for us to tilt instead of shift (for up to 12° tilt) and now has a PL mount. This lens is fantastically sharp and easy and fun to use.
If you need the impossible tilt shot where focus runs almost perpendicular to the film plane we turn to a Special 35degree Tilt Rodegon 80mm projector lens that has been modified for cinema use.
This interesting 80mm can be teamed up with a Makroscope 12 diopter. This two element aspherical lens is possibly the highest quality auxiliary close-up lens available and produces an image size of greater than 1:1 – without the light loss associated with extension tubes.
Other PL lenses
RED Pro 300mm T2.9 The first lens Red ever made and probably the best as well. Zeiss don't make a 300 PL lens and we didn't want to buy a super heavy zoom, so tested all the available options. In PL terms this is a cheap and cheerful lens but it really does the job.
Minimum Object Distance is 7.36'
H x V FOV for S35 Format is 5.83° x 2.92°
P+S TECHNIK 18 - 35mm T2 A really interesting lens for 3 reason. Amazing close focus, very short and super light for a zoom of this range. Weighs the same as a light prime. It doesn't quite cover 6k on the Dragon but if you need the size it is fantastic.
Perfect for Gimbals!
Pelang 8mm T2.8
Last and probably least in our PL lenses portfolio is a Russian Pelang 8mm lenses mounted in PL. This fish eye lens has only been used twice and even though it was a huge success both times and a lot of fun, it is tricky and flawed.
Zeiss/Arri Ultra 16s
Like the Master Primes, the Ultra 16 lenses combine high speed with outstanding optical performance. However they do not cover S36 but are, as the name suggests, made for S16 size imagers. This makes them nearly irrelevant in a world of high end digital imaging. All the premium imagers are S35 or bigger. However because they bettered all other Super 16 lenses in optical performance, they offer an advantage in one, albeit slightly niche, scenario. To get the very fastest shooting frame rates out of both the Phantom 4k and the Red Dragon you end up windowing the sensor . When the window is either 2k on the Phantom or 2.5/3k on the Dragon, the Ultra 16s come into their own.
3 Diopters (+0.5, +1, +2) for close ups beyond the lens' close focus
Superior image quality through achromatic elements and Zeiss T* coating
Optically matched to Master Primes, but can also be used on other lenses
Time savings and better match to prime lenses compared to macro lenses
Clamp-on mechanism ensures quick and easy use and precise fit
Works with Master Primes, Ultra Primes, Ultra 16 lenses, the the Optimo zooms,.
Achromatic lens elements and careful optical design
ZEISS T* anti-reflection coating greatly reduces flares and other internal reflections.
Their unique mechanical design allows for safe and fast use, including quick stacking. Close tolerances and a unique clamping mechanism ensure perfect centering and keep the diopter parallel to the taking lens. The Master Diopters allow you to quickly grab a close up without sacrificing image quality.
Nearly identical to the Master Diopter. The difference is that they only work with 95mm fronted lenses and they are available only as +1 and +2 strength.
Not strictly optical but definitely part of the lensing system. We carry some Extension tubes for when a diopter is either not enough or when it is inappropriate to use. For example with the Ilumina lenses PL 16mm PL 25mm and a PL 50mm.
Diffusion filters and other optical tools
As mentioned we have spent a lot of time investigating Diffusion, in combination with our lenses and how to create different looks with digital sensors. The culmination of all this research means you will find us shooting through lots of different bits of glass from the latest Tiffen Diffusion to fractured pieces of window pane taken from a 19th century chapel window.
PL mounted cinema glass is on our cameras 95% of the time, however there is some really interesting and useful Nikkor, Canon, Leitz and Zeiss glass that has not been rehoused. When needed we dip into a pool of over 30+ lenses.