Ancient Optics

Every day until our Cine Gear Wrap Party and Open House we are going to give you another reason to stop by and check out our newest gear. Today’s reason: the Kinoptik Tegea 9.8mm T2.3, beautifully rehoused by @zerooptik for @ancientoptics This is one of the widest vintage lenses available. The new Zero Optik housing is a masterpiece - as beautiful as it is functional. This lens is surprisingly sharp with almost no distortion, and an incredible close focus. It has a slightly dreamy character wide open that no modern lens can replicate. You have to see it to believe it. Come test out this lens and so many more at our Cine Gear Wrap Party & Open House, June 7, from 2:00-8:00pm at Old Fast Glass. We will have food, drinks, coffee, ice cream, and 2 lens bars!  #oldfastglass #cinegear #zeroootik #kinoptik #vintagelenses

Every day until our Cine Gear Wrap Party and Open House we are going to give you another reason to stop by and check out our newest gear. Since we missed yesterday, we will give you 2 reasons today! This is the brand new Zeiss B-Speed 14mm T1.4. This one was a collaboration between @ancientoptics and @gl_optics and is the follow-up to the 135mm T2.2 B-Speed we announced recently. Both lenses expand on the original 5-lens set, and both feature the B-Speeds’ unique triangular iris. So now you have a uniform, perfectly matched, unique set of vintage optics from 14mm to 135mm. The lenses have internal focus, improved close focus, expanded focus scales, matching gear positions, and rock-solid, reliable mechanics. Wide open, the lenses create a more traditional, vintage textured aesthetic. The triangular iris does not reveal its character until you stop down. Around T2, T2/2.8 split is the sweet spot if you like the look of rounded triangular bokeh. It’s really special. The lenses have Zeiss’ legendary vintage leaded glass, and T* coatings. The lenses deliver very flattering skin tones, and lens flares are beautiful without overwhelming the image. They are truly stunning lenses. Stop by and test them out at our Cine Gear Wrap Party & Open House, June 7, from 2:00-8:00pm at Old Fast Glass. We will have food, drinks, coffee, ice cream, and 2 lens bars! #oldfastglass #cinegear #zeissbspeed #zeisssuperspeed #zeisshighspeed

We are 1 month away from our 4th Annual @old_fast_glass | @ancientoptics Cine Gear Wrap Party & Open House! Sunday, June 7, from 2:00pm to 8:00pm. This year will be bigger than ever! Enjoy music, drinks, Villas Tacos, Recess Ice Cream Truck, CATDOG COFFEE, and more! We will have a lot of NEW LENSES and new gear to show you! Save the date. No RSVP required. Just stop by and have a good time! And follow us for lens announcements… Shot on Super 8 & @kodak_shootfilm Edit - @rosiesirk @catdogcoffee.co @recesstruck @villastacoslosangeles #oldfastglass #cinegear #cinegear2026 #vintagelenses #rehousedlenses

Scotts Miracle-Gro • “SPRING” & “TOUCH GRASS” • Shot on TAMASHII Primes • Arri Alexa MiniLF & 8mm (250D)

𝗞𝗜𝗡𝗢𝗣𝗧𝗜𝗞 𝗧𝗘𝗚𝗘𝗔 𝟵.𝟴𝗺𝗺 - This revolutionary wide-angle lens was one of Stanley Kubrick's favorite lenses, famously used to shoot scenes in A Clockwork Orange (1971) and The Shining (1980); both films photographed by DP John Alcott, BSC. The TEGEA 9.8mm T2.3 (f/1.8) is one of the widest rectilinear lenses ever made. This lens shows no distortion, which is amazing considering its age and extreme wide field of view. The lens was originally designed for the 35mm format but easily covers super 35. Now revived through the efforts of @ancientoptics in collaboration with @zerooptik , this iconic lens is ready to be rediscovered by a new generation of filmmakers. It is sharp with minimal flaring when bright point light sources are present. Contrast and flares become more controlled when stopped down. The lens shows virtually no focus breathing, and Zero Optik improved the close focus to just an inch away from the front element. It's construction features nine elements in six groups with sophisticated aspherical elements and exotic rare materials like lanthanum and fluorite glass. It pairs well with many vintage lenses like Kowa Prominars, Cooke Panchros, Zeiss Super Speeds, Super Baltars, Canon Rangefinders, and many more. You can compare the KINOPTIK TEGEA side by side at different T-stops to over 120 lens sets in our CINEFLARES PRO lens library.

Delighted to win ‘Best Cinematography’ @horizonfilmfestival in Liverpool last night. @lukebathers awesome film ‘How to wash a body…’ also won ‘Best Film’ Catch it @sundshortsfilm next. Shout out to @nodramaltd for the @ancientoptics Petzvalux lenses and @truelensservices Canon FD. Lighting from @anttechnicalservices and @knowled_global Gaffer Paul Dempster - Colourist @salty.colours

‘The Generation of Change Anti Domestic Violence Campaign - SP Lager’ (Join the Lens Addiction Community - Link in bio) 🔎1- ANCIENT OPTICS Petzvalux 55mm T1.7 🔎2- ANCIENT OPTICS Petzvalux 38mm T1.7 🔎3- ANCIENT OPTICS Petzvalux 55mm T1.7 🔎4- ANCIENT OPTICS Petzvalux 27mm T1.9 🔎5- ANCIENT OPTICS Petzvalux 55mm T1.7 🔎6- ANCIENT OPTICS Petzvalux 27mm T1.9 🔎7- ANCIENT OPTICS Petzvalux 38mm T1.7 🔎8- ANCIENT OPTICS Petzvalux 55mm T1.7 🔎9- ARRI Signature Prime 35mm T1.8 + 330P Impression filter 📹 ARRI Alexa Mini LF Dir. @micksoiza Dp. @calebware . . #lensaddiction #petzvalux

This one gave me sleepless nights for sure... The brief from @jjlogue was big 80’s nostalgia with heaps of colour and contrast - but we had to achieve this day for night and couldn’t blackout the enormous space due to the height of the roof, time and budget. With @mattsbeggs and @michael_bespalov we decided on a 20x20 blackout lid that would reduce the direct sun from the shot area but I was acutely aware that to retain saturation on the colour, we needed even less daylight than that so I said to Matty that we needed a big over-powering ‘counter colour’ like pink to offset the daylight coming in so we decided on a ARRI 18k through a 20x20 half grid with doubled pink gel. I then underexposed the camera by 4 stops and cooled the camera to 3400K (this fluctuated shot by shot) to skew all the daylight in a deeper blue that could be interpreted as moonlight. I was heaps nervous that the image capture would suffer so I decided to rate the camera at 400 ISO to reduce the noise floor and gain extra information/dynamic range in shadows to help @alinabermingham have a better image to work with (Alina killed it too). Josh and I were super keen to shoot anamorphic but it couldn't be 2x as our deliverables were 2:1 and 1:1. I’ve been pretty underwhelmed by most 1.5x or 1.33x sets I’ve tested until I found the Statera’s by @old_fast_glass @ancientoptics from @thefront118 The Statera's are insane. The barrel distortion was pleasing, no pin cushioning (GAME OVER for me if ana’s have it), no fish bowl effect, powerful petzval style character that took us rapidly to 2x characteristics, fast aperture and golden coatings meant that I’m now a bit obsessed with them. Client: Fuso Agency: @noisybeast Director: @jjlogue Producer: @zacwarneford 1AD: Chris Turner & Cam Mellor 1st AC: @agatha.l.e.e 2nd AC @ashleigh.hammond Gaffer: Matty Begg Grip: Michael Bespalov Sound: Bart Bee Production Design @lucindathomson Colourist @alinabermingham Camera Supplied by @tvh_rentals Lenses Supplied by @thefront118 big up @danthegrip for the recco's, @antpawley for the ongoing support and @scenario_app

Documentary project for @google we shot last summer in NYC about the incredible @mister.jackchen and how AI helps him navigate life in the greatest city on earth. Shot on the mesmerizing Petzvalux lenses by @ancientoptics on @sonycine with some @kodak_shootfilm 16mm 500T Director: @ruaridhsvend DP: @noah.p.toaso Editor: @mike_brown0 Sound: @mmodula 1st AC: @hillaeden Color: @duncanbyrnes G&E: @joe.r.val PA: @bekstrauss Lenses: @old_fast_glass @ancientoptics Dev: @fotokem_la Client: @bbcstoryworks @google Production company: @iluvcherub

Vintage soul and the ideal old glass to get a more classic film look. It is the perfect zoom lens to match with the K35s and Canon FDs 🏋️‍♀️🎥. It also covers full frame! 🔍1. The Ancient Optics — Canon FD 50-300mm T4.9 Ø136 — GL Optics Rehouse 🔍2. Light-weight camera setup 🔍3. Sony Venice 🔍4. Cmotion Cvolution Pan Bar Zoom MKII for those smooth controlled zooms. 🔍5. Arri FF-5 follow focus, for when the budget cannot afford a remote follow focus 🔍6. Arri LMB Mattebox with swing-away 🔍7. Gen Energy, V-lock mount batteries Why people book it: • classic Canon warmth • flattering contrast without feeling crunchy • huge range = fewer swaps, faster days Real-world example 👇 Used on scenes from The Home Straight, paired with documentary material shot on a Sony FX3 and additional FD photo lenses. A smooth and cohesive match. No drama. The CineAlta line, in this case the Sony Venice matched with the Sony Fx3 has been one of the most versatile A and B camera combos for dual camera shows. These cameras embrace the beautiful sony colour science, the flexible dual base iso and the multiple options for data quality. Translation: 🎬 cinematic A-cam 🏃 lightweight killer B-cam options. 💅 grades together beautifully Prod Company. @roughcut.mt Executive Producers. Producers. 1st AC. @joostreallycantdance 2nd AC. @matthias.photographs BCamera. @koenebeling Editor. @fabriziofenech Colorist. @ant.wccd Sound Design. @stargatestudiosmalta Talent @jan.richard_ Talent @sarahsnaudi 2nd AD @emma.pillow.malta Gaffer @adnanjerbi ---- #cameragear #cameraoperator #camerasetup #cameralover #cameralove #cinematographylife #filmmakinglife #cinematographers #filmmakerslife #filmmakersworld #indiefilmmaking #moviemaking #filmmaking #camerashot #cameradepartment #cinematography #rentals #indiefilm #sonyvenice #cmotion #arri

Shot on Phenix 28-70 by @ancientoptics Japan Representative .. @peterbcooper Sorry for the re upload there was a glitch in the video Talent @maayaegami Assistant @lkenjicoyte #filmmaking #filmmaker #cinematographer Tokyo based filmmaker photographer