Cinematographer Kent Willard used our Angenieux 25-250 T3.9 as the primary lens for the music video SÍGUEME by Xiuhtezcatl and Renata Flores — Directed by Juan Zuleta, SÍGUEME is a prime example of how vintage optics can elevate storytelling. Shot in the Andes Mountains of Peru, the video merges natural glory with deep personal narrative. Juan consistently brings together exceptional crews and compelling visions, and this project is a prime example. Paired with our Leica R primes, the 25-250 delivered rich, cinematic imagery. This shoot stands as a testament to the legacy of the 25-250 T3.9 — and the kind of image it can create.
Director @juanfzuleta
DP @kent__willard
1st AC @grandma_camera
The Angenieux 25-250 T3.9 is truly a special lens. With its warm flares, low contrast, and bokeh that resembles painting like characteristics, it brings a distinctive character to images — one that modern optics struggle to replicate.
Originally manufactured in 1962, it was the first 10X zoom lens ever made, and its release marked a turning point in cinema history. For decades, it served as a benchmark in the industry, earning a revered place in the cinematographer’s toolkit.
Though the telescoping and rotating front focus group eventually made it less practical in modern setups, Arma Cine’s Orbital system has revived its usability. The Orbital eliminates front rotation, allowing clamp-on matte boxes to be used, and adds support for focus motors — giving this vintage gem traction again.
Since this lens was designed for the Academy 35mm format (slightly smaller than Super 35), we recommend pairing it with our Century 1.4x Extender for full compatibility with today’s cinema cameras. This lens pairs well with our Leica R or Zeiss Super Speed sets, and we strongly encourage matching it with other lenses that share its unique personality and vintage character.
@arma__cine@angenieuxlenses
Lute - Finding Self - A short film length music video directed by @juanfzuleta and shot by @kent__willard
Through the variety of focal lengths used to shoot this film, Kent does an incredible job at displaying how well rounded our Leica R set is. With Full Frame coverage and a wide range of focal lengths, you have an option for every situation. These lenses are full of character and are sharp wide open. The 35mm T1.4, often ends up being the star of the show, and is the type of lens you will put on the camera and end up leaving on the rest of the day. Though we love the 35mm a lot, the wide and tight lengths of this set deserve an equal amount of praise. The wides, like the 19mm T3.5 displayed on the 4th slide, have very little distortion and smooth bokeh. The tights display smooth falloff, even when stopped down, making them great for portrait shots like the one displayed on the first slide. Though this video was shot and released a handful of years ago, it's worth a watch if you haven't seen it. It can be found on the Leica R page of our website. Kent, Juan and the whole team involved really created something special that we are proud to to share as an example.
As we ease our way into 2025, we would like to thank everyone who continues to support us and keep us afloat. Between writers strikes and general economic struggle, the past few years have had their ups and downs. We’re still here and we couldn’t have done it without the support of our regular customers, local producers, crew members and staff. We are excited for another year of providing the best service we possibly can. We love being a part of this industry as much as you do, and that is why we do it.
Love,
Summit Camera
Small HD Cine 18 and Cine 13 are both light, nimble, and have bright backlights that make viewing possible on bright sunny days. The Cine 13 has become the industry standard monitor used by Focus Pullers, and we have started to see it used on set a lot by DPs for lighting. The Cine 18 has started to become a popular request, and we absolutely love the size of the display. No matter how you decide to structure your monitor order, we feel that the Cine 18 and Cine 13 are the ultimate production monitor duo.
@smallhd #summitcamera #smallhd #cinemotography
Our Sony Rialto on set in compact places
Slide 1 - Sony Rialto and Sony Venice on a dolly riding together, on our Arri 18 inch dovetail, in studio build
Slide 2 - Sony Rialto handheld build from the same day as slide 1. @kent__willard needed a compact handheld build so he could quickly move it through this bus
Slide 3 - Handheld bus shot from @pos_project with DP @kent__willard Director @parksranda and 1st AC @t.byrumjackson
Slide 4 - Operator @j0ey_dwyer flys Rialto on his DJI Ronin 2
Slide 5 - Sony Rialto on Movi Pro with @backpack_rig and DP @michaelstine and 1st AC @grandma_camera
Slide 6 - Sony Rialto overhead rig with DP @kent__willard 1st AC @grandma_camera and @realcoleworld
Slide 7 - Sony Rialto swinging shot right with DP @iaintrimble and 1st AC @grandma_camera
Slide 8 - Sony Rialto door rig with DP @kent__willard and 1st AC @t.byrumjackson
#summitcamera #sonyvenice #sonyrialto #sonycine #arri #arripca
The Sony Rialto allows you to get the camera in places it has never been before. It is light, compact and covered in rigging points. Extend it up to 18’ away from the Venice camera body with no loss in image quality. With the Wooden Camera D-Box on the back of the Rialto body, you can power all of your accessories. The Rialto is the most compact, limitation free camera rig to ever exist.
#summitcamera #sonyvenice #sonycine #sonyrialto #arripca #arri
Toyota Racing - Born of the Earth | Directed by @bencarter.mov and shot by @jakecolletta for @whatnot_films
Shot on Arri Alexa Mini and Kowa Prominar Anamorphic
Jake put our Kowa Prominar Anamorphic lenses on his Arri Alexa for this one and they were the perfect option for how many different camera configurations they were doing. Kowas are some of the most compact anamorphic lenses available, making them super easy to put in the air on a drone, or on an arm car like they did here. You can shoot wide open and fully embrace the character of these vintage Japanese anamorphic lenses, or stop down a bit for a sharper and cleaner look. No matter what stop you land on you’re going to get some big beautiful flares if you allow light to hit the lens, making these the perfect lenses for your next commercial, music video or narrative film.
#summitcamera #kowa #kowaprominar #kowaanamorphic #anamorphic #arrialexa #arrialexamini #ncfilm
We’ve all tried to grab the camera and forgot to unplug from our block battery. Our Stay Puffed Power system, by @backpack_rig , gives you block battery power to camera with a quick and easy magnetic release. Perfect for quick hot swaps, as demonstrated in slide 2 by @ryan.shacks and @rickyanthony1 . This is a luxury you may not always have, so we still suggest remembering to unplug your cable! Available for use with 12V cameras like the Arri Alexa Mini, Alexa LF, or Sony Venice 1&2. Also available for 24V use with Arri Alexa 35.
#summitcamera #1stac #staypuffed #blockbattery #arrialexa #arrialexa35 #sonyvenice
LUNGS - A short film directed by @kieranmoreira and shot by @mylekessina
Shot on Arri Alexa Mini & Cooke S4i
Kyle reminds us how much character Cooke S4i lenses truly have. The medium contrast of these lenses and the wide open stop of T2 really thrive in dark and contrasty lighting situations. The depth and detail of these frames display their truly incredible bokeh. The warm and dreamy feel Kyle created here is a prime example of The Cooke Look.
#summitcamera #thecookelook #cooks4i #arri #arrialexa #s35
We have been in love with Bebob batteries since the first time we got our hands on some. Ergonomically, they are the best on the market. With amazing features like the flashlight on the contact side of the battery, the A-Mount hot swap battery, and 8 channel simultaneous chargers, we have made them our staple choice for powering camera and accessories. Not to mention, they are very aesthetically pleasing.
@bebobbatteries
