rgbrental

THE ZWEIFLERS (Series, Winner @Canneseries, ARD Mediathek) Shot on our ALEXA35, our KOWA CINE PROMINAR SET - TLS REHOUSED („Arrival“ or „Don’t look up“) and our CANON FD - TLS REHOUSED + Canon FD Zoom 50-300mm The KOWAs were used for night scenes because of their vivid colors, smooth sharpness and flares, as well as for dramatic or unreal scenes. The Canon FDs were used for day interiors and exteriors. Available to rent @rgbrental Pic 1 20mm Canon FD TLS Rehoused Lenses TLS Pic 2 32mm KOWA Cine Prominar TLS Rehoused Lenses TLS Pic 3 24mm Canon FD TLS Rehoused Lenses TLS Pic 4 25mm KOWA Cine Prominar TLS Rehoused Lenses TLS Pic 5 24mm Canon FD TLS Rehoused Lenses TLS Pic 6 25mm KOWA Cine Prominar TLS Rehoused Lenses TLS Pic 7 24mm Canon FD TLS Rehoused Lenses TLS Pic 8 32mm KOWA Cine Prominar TLS Rehoused Lenses TLS Pic 9 15mm KOWA Cine Prominar TLS Rehoused Lenses TLS Pic 10 Camera Log Book by 2nd AC Christoph Sommer @Truelensservices @ancientoptics #canon #canonFD #vintagelenses #vintageglass #Kowacineprominar #KOWA

Our COOKE SPEED PANCHROS S2/3 - TLS Rehouses Lenses @truelensservices Available to rent @rgbrental COOKE SPEED PANCHROS S2/3 - TLS Rehoused Lenses 18mm T 2.3 25mm T 2.3 32mm T 2.3 40mm T 2.3 50mm T 2.3 75mm T 2.3 100mm T2.8 Our TLS rehoused Cooke Speed Panchros (S2/3) are THE the absolute „classics“ in our selection and responsible for what we know today as „ The Cooke Look“. These lenses are offering something between a nice „vintage feel“ and a modern look approach as you can’t discover it in any other „vintage“ lenses. On the one hand they provide lots of beautiful vintage characteristics like a fall off in sharpness towards the edges, settle barrel distortion and a smooth vignette and on the other hand they are surprisingly sharp for vintage lenses. They where designed in the 40ies (S1) and then there was further developed new serieses in the end of the 50ies and 60ies (S2 / S3). This mix of sharpness in the center and fall off at the edges makes them as I say „little sisters and brothers“ of anamophric lenses, as you are only using 70% of the image initially designed for the format as we use it today. Especially the 32mm at close focuses in portraits develops a very interesting effect focusing the center of the image in high-res and putting the edge of the frame in a very organic, dreamy feel, regarding sharpness and bokeh. Also important to mention their beautiful flares in wider focal lengths like e.g the 18mm. Blueish, almost anamorphic lens flare feel. Pic 1 Our COOKE SPEED PANCHROS S2/3 - TLS Rehoused Lenses @truelensservices Pic 2 Shot on our COOKE SPEED PANCHROS S2/3 - TLS Rehoused Lenses @truelensservices by @nuarnoir Pic 3 Shot on our COOKE SPEED PANCHROS S2/3 - TLS Rehoused Lenses @truelensservices by @nicole_8mn Pic 4 Shot on our COOKE SPEED PANCHROS S2/3 - TLS Rehoused Lenses @truelensservices #cooke #cookespeedpanchros #cookeS2 #cookes2“#cookeS3 #speedpanchros

Shot on our ARRICAM 416 with Ultra16 Primes (6mm, 8mm, 9.5mm, 14mm, 18mm) and Canon S16 10,5 - 165 Zoom VEILS AROUND US, SHORT FILM (@camerimage.festival , @ciclopefestival ) shot by @konradlosch , directed by @timm_gillner , produced by @trustntry.tv 1st AC @___franzz Shot on @kodak_shootfilm BTS Alexander Kilian & Franz Deutschmann Lab @cinegrell #vintageglass #vintagelenses #rareglass #rarelenses #ultra16 #arricam416 #super16 #canon

Our Aaton A-Minima - S16 Camera with HD Video Video Assist, V-Mount Adapter, @elokuvakonepaja Accessories (Cheesplate / Cage, Handle) and PL-Mount. Available to rent @rgbrental The A-Minima is a Super 16 movie camera that was introduced by Aaton in 1999.  This Camera is the smallest reflex viewfinder movie camera on the market. At a weight of only around 2.6 kg, including film and battery, it’s also the lightest S16 Camera, at a size not much bigger than a consumer Video Camera. Pic 1 - Aaton A-Minima Body + 8mm Ultra16 Pic 2 - Wim Wenders with an Aston A-Minima on his shoulder Pic 3 - Aaton A-Minima View Finder Pic 4 - Aaton A-Minima HD Video Tap Pic 5 - @elokuvakonepaja Top Handle Pic 6 - Aaton A-Minima Counter + elokuvakonepaja Side Plate #aatonaminima #super16 #kodakshootfilm #super16 #aaton #elokuvakonepaja

Shot Our Panchro/i Classic Full Frame Lenses Available to rent @rgbrental 18mm T2.2 (arriving July 2023) - CF 0,25m 25mm T2.2 - CF 0,30m 32mm T2.2 - CF 0,33m 50mm T2.2 - CF 0,33m 75mm T2.2 - CF 0,80m 100mm T2.2 - CF 0,95m 135mm T2.2 - CF 0,85m Panchro/i Classic Full Frame lenses are designed to provide a vintage feel based on the almost hundred years of development of the the Panchro Series, S1 / 2 and 3 translated to the needs of a modern performing lens. Not as the S2 / 3 lenses which are known for a medium contrast and sharpness and a slight fall of in resolution towards the edges, the Panchro/i Classics perform cleaner and sharper by preserving the feel of the old vintage versions. Panchro/i Classic Full Frame lenses have a 300-degree focus rotation and come with the Cooke /i Technology providing lens metadata such as focus and iris position, same asl as individually calibrated lens distortion and shading maps. Pic 1 Shot on our Panchro/i Classic Full Frame Lenses @cookeoptics Shot by DOP @wesleywsalamone Pic 2 Shot on our Panchro/i Classic Full Frame Lenses @cookeoptics Shot by DOP @wesleywsalamone Pic 3 Our Panchro/i Classic Full Frame Lenses @cookeoptics #cooke #cookepanchroclassicff

Our Panchro/i Classic Full Frame Lenses - Available to rent @rgbrental 18mm T2.2 (arriving July 2023) - CF 0,25m 25mm T2.2 - CF 0,30m 32mm T2.2 - CF 0,33m 50mm T2.2 - CF 0,33m 75mm T2.2 - CF 0,80m 100mm T2.2 - CF 0,95m 135mm T2.2 - CF 0,85m Panchro/i Classic Full Frame lenses are designed to provide a vintage feel based on the almost hundred years of development of the the Panchro Series, S1 / 2 and 3 translated to the needs of a modern performing lens. Not as the S2 / 3 lenses which are known for a medium contrast and sharpness and a slight fall of in resolution towards the edges, the Panchro/i Classics perform cleaner and sharper by preserving the feel of the old vintage versions. Panchro/i Classic Full Frame lenses have a 300-degree focus rotation and come with the Cooke /i Technology providing lens metadata such as focus and iris position, same asl as individually calibrated lens distortion and shading maps. Pic 1 Our Panchro/i Classic Full Frame Lenses @cookeoptics Pic 2 Shot on our Panchro/i Classic Full Frame Lenses @cookeoptics Shot by DOP @wesleywsalamone Pic 3 Shot on our Panchro/i Classic Full Frame Lenses @cookeoptics Shot by DOP @wesleywsalamone Pic 4 Shot on our Panchro/i Classic Full Frame Lenses @cookeopticd Shot by DOP @wesleywsalamone #cooke #cookepanchroclassicff

Shot on our COOKE SPEED PANCHROS S2/3 - TLS Rehouses Lenses @truelensservices Available to rent @rgbrental COOKE SPEED PANCHROS S2/3 - TLS Rehoused Lenses 18mm T 2.3 25mm T 2.3 32mm T 2.3 40mm T 2.3 50mm T 2.3 75mm T 2.3 100mm T2.8 Our TLS rehoused Cooke Speed Panchros (S2/3) are THE the absolute „classics“ in our selection and responsible for what we know today as „ The Cooke Look“. These lenses are offering something between a nice „vintage feel“ and a modern look approach as you can’t discover it in any other „vintage“ lenses. On the one hand they provide lots of beautiful vintage characteristics like a fall off in sharpness towards the edges, settle barrel distortion and a smooth vignette and on the other hand they are surprisingly sharp for vintage lenses. They where designed in the 40ies (S1) and then there was further developed new serieses in the end of the 50ies and 60ies (S2 / S3). This mix of sharpness in the center and fall off at the edges makes them as I say „little sisters and brothers“ of anamophric lenses, as you are only using 70% of the image initially designed for the format as we use it today. Especially the 32mm at close focuses in portraits develops a very interesting effect focusing the center of the image in high-res and putting the edge of the frame in a very organic, dreamy feel, regarding sharpness and bokeh. Also important to mention their beautiful flares in wider focal lengths like e.g the 18mm. Blueish, almost anamorphic lens flare feel. Pic 1 Shot on our COOKE SPEED PANCHROS S2/3 - TLS Rehoused Lenses @truelensservices Pic 2 Our COOKE SPEED PANCHROS S2/3 - TLS Rehoused Lenses @truelensservices Pic 3 Shot on our COOKE SPEED PANCHROS S2/3 - TLS Rehoused Lenses @truelensservices Shot by DOP @sebastianbriem Pic 4 Shot on our COOKE SPEED PANCHROS S2/3 - TLS Rehoused lenses by @truelensservices Shot by DOP @laura__russ #cooke #cookespeedpanchros #cookeS2 #cookes2“#cookeS3 #speedpanchros #steinmannvintage @steinmann_vintage

Our ARRFLEX 416 - S16 Camera with IndieAssist HD Video and V-Mount Adapter Available to rent @rgbrental Arri’s last produced Film Camera introduced in 2006 is surely THE hight-end Super 16mm camera on the market. It’s ergonomic design and weight distribution makes it rest on the shoulder perfectly, for smooth handheld movements. It offers up to 75 frames per second, an adjustable shutter from 45 degrees top 180 degrees and bright a 35-style viewfinder. Our 416 is modified with an Indie Cine INDIEASSIST , which has 14 bit pixel depth and outputs HDSDI 4:2:2 in 10 bit with a Flicker-free picture, which allows you to pull focus even from the HD monitor. It also comes with a Beebop V-Mound adapter with 1x 2-Pin Lomo and 1x D-Tab power outputs, which makes the system compatible with all modern camera accessories. The V-Mount adapter also comes with an integrated Wicam Analog SDI converter, in case you want to use the original IVS SD Video Tab from Arri. Our 416 package comes with 5x 122m mags and many intersting accessories like Steadicam Plate, LWS light weight support and many options for clean, professional builds. @elokuvakonepaja @indieassisthd #arriflex416 #super16 #kodakshootfilm #arri416 #416 #arri #indieassist #indiecine #elokuvakonepaja

Shot on our OPTEX 5.5mm - 2.0 - S16 Lens Available to rent @rgbrental OPTEX 5.5mm - 2.0 S16 Lens 5,5mm - 2.0 - Close Focus 0,2m The Optex 5.5mm and 8mm have very special feel. They are 90ies designed, very low optical distortion But super wide angles lenses for Super 16. They are not comparable to Ultra16 in terms of sharpness. They are soft and rather „Low resolution“. But the combination of vintage feel and clear optical lines make them also a good decision in use with digital cameras to break the cleanness of the medium. They provide an extreme (almost macro) close focus for that kind of focal lengths of only 20cm, which makes them standing our amongst other super wide angle options for S16 like Ultra16 or SK4. Their colorful Chromatic aberration and flares are very special and the bodies also extremely small and light weight. Definitely a good choice if you want to bring that special feel into S16 or S16 mode in digital cameras at a very wide focal length. (Which is rather rare in wide lengths, which usually appear much more clean than in their longer versions) Pic 1 Shot on our OPTEX 5.5mm - 2.0 S16 Lens on Arri SR3 - Kodak Shot by DOP @elias_c_j Pic 2 Our OPTEX 5.5mm - 2.0 S16 Lens Pic 3 Shot on our OPTEX 5.5mm - 2.0 S16 Lens on Arri SR3 - Kodak Shot by DOP @elias_c_j Pic 4 Shot on our OPTEX 5.5mm - 2.0 S16 Lens on Alexa Mini Shot by DOP @sebastianbriem Produced by @kyd Pic 55 Shot on our OPTEX 5.5mm - 2.0 S16 Lens on Arri SR3 - Kodak Shot by DOP @elias_c_j Pic 6 Shot on our OPTEX 5.5mm - 2.0 S16 Lens on Alexa Mini Shot by DOP @sebastianbriem Produced by @kyd.berlin Pic 7 Shot on our OPTEX 5.5mm - 2.0 S16 Lens on Arri SR3 - Kodak Shot by DOP @elias_c_j #optex #super16 #kodakshootfilm @kodak_shootfilm

Our COOKE ANAMORPHIC 1.8 Full Frame Lenses Available to rent @rgbrental COOKE 1.8 ANAMORPHIC / I - LARGE FORMAT LENSES 32mm T2.3 40mm T2.3 50mm T2.2 75mm T2.3 100mm T2.3 Our Cooke 1.8 squeeze factor Anamorphics for Full Frame are offering a big range especially in wider focal lengths. The 32mm (on LF) has an angle of view of 89 degrees, which equals more or less a 14mm spherical lens on a S35 Sensor. Even getting so wide they offer a relatively low optical distortion. The Cooke 1.8 Anamorphics are a very sharp option in the anamorphic world and thanks to the high resolution of Full Frame sensors an absolute high-end choice. Their bokeh is soft, without being extraordinary creamy and at use in Large Format you get a crazy small depth of field. The Cooke / i technology offers to record lens data, like lens setting, focusing distance, aperture and depth-of-field, hyperfocal distance, serial number and more. This makes recording lens grids manually completely unnecessary. As those lenses are not extremely big and heavy they are also a great choice for S35, if you are looking for a high-end, high resolution, low distortion but classical and strong anamorphic bokeh look. Pic 1 Our Set of COOKE 1.8K ANAMORPHIC @cookeoptics Pic 2 Our 32mm COOKE 1.8 ANAMORPHIC @cookeoptics Pic 3 Our 100mm COOKE 1.8 ANAMORPHIC @cookeoptics #cooke #cooke1.8 #anamorphic #anamorphiclenses #cookeoptics #rgbrental #steinmannvintage

Shot on our COOKE 1.8 ANAMORPHIC Full Frame Lenses Available to rent @rgbrental COOKE 1.8K ANAMORPHIC / I - LARGE FORMAT LENSES 32mm T2.3 40mm T2.3 50mm T2.2 75mm T2.3 100mm T2.3 Pic 1 COOKE 1.8K ANAMORPHIC on Alexa Mini LF Shot by DOP @elias_c_j Producer by @kyd.berlin Pic 2 Our Set of COOKE 1.8K ANAMORPHIC @cookeoptics Pic 3 COOKE 1.8K ANAMORPHIC on Alexa Mini LF Shot by DOP @elias_c_j Producer by @kyd.berlin Pic 4 COOKE 1.8K ANAMORPHIC on Alexa Mini LF Shot by DOP @elias_c_j Producer by @kyd.berlin #cooke #cooke18 #cookeoptics #anamorphic #anamorphiclenses #cookelenses #rgbrental #steinmannvintage

Our CANON FD - TLS REHOUSED Available to rent @rgbrental Beautifully rehoused by @truelensservices Canon FD TLS 14mm T2.9 FDL Canon FD TLS 20mm T2.9 S.S.C. Canon FD TLS 24mm T1.5 S.S.C. Aspherical Canon FD TLS 28mm T2.1 S.S.C. Canon FD TLS 35mm T2.1 S.S.C Canon FD TLS 55mm T1.3 S.S.C. Aspherical Canon FD TLS 85mm T1.3 S.S.C. Aspherical Canon FD TLS 100mm T2.0 NFD Canon FD TLS 135mm T2.1 Canon FD Zoom 50-300mm T4.9 / F4.5 L S.S.C (Ancient Optics) Canon FD lenses are the little (or let‘s say older) sisters of the K35 Lenses. The 24mm, 55mm and 85mm use exactly the same source glass as being used in the production of the K35 lenses end of the 70ies. Canon decided back then to get into the cine lens market and used as a base glass the aspherical Canon FD photo lenses to build the K35 cine lenses. The 35mm and the 18mm e.g. are made based on the 55mm and the 24mm with an internal wide angle element. The coating is therefore exactly the same as you can find in the Canon FD series. The FD series as you know today was extended by the (rehoused) Canon FDs Photo lenses above and below 24mm and 85mm, so you have a wider range of focal length by having the same feel of the K35 lenses. If you compare a K35 24mm, 55mm, and 85mm with the same rehoused Canon FD (aspherical SSC) you won‘t see any optical difference. This made the rehoused Canon FD series so popular, when Large Format came into fashion. Summing up the Canon FD TLS are exactly the same glass extended to a wider range of focal lengths. We also offer the Canon FD Zoom 50-300mm T4.9 / F4.5 L as an extension for much longer focal lengths. The Canon FD 50-300 comes from he same generation as the 14mm FDL. S.S.C. Coating ! Pic 1 Our Set of 9 - Canon FD TLS Rehoused Lenses TLS Pic 2 Our 55mm 1.3 - S.S.C Aspherical TLS Pic 3 Glass Detail of our 24mm 1.5 - S.S.C Aspherical TLS Pic 4 Our 85mm 1.3 - S.S.C Aspherical TLS #canon #canonFD #vintagelenses #vintageglass @truelensservices @steinmann_vintage