Full-Frame Cinema Line Camera with Open Gate and Internal RAW RecordingThe Sony FX5 is a new full-frame Cinema Line camera featuring a newly developed fully stacked Exmor RS™ CMOS image sensor and the latest BIONZ XR2™ high-speed image processing engine with a dedicated AI processing unit. The newly developed sensor increases sensitivity performance¹ and delivers more than 15 stops of dynamic range in S-Log3. The camera features three base ISO settings of ISO 800, ISO 4000, and ISO 12800², while the Dual Gain Shooting function³ provides smoother gradation, wider latitude, reduced noise, and preserved shadow detail. For the first time in the Cinema Line FX series, the FX5 supports Open Gate shooting with 3:2 full-pixel readout across the entire sensor and internal recording in X-OCN, Sony’s proprietary 16-bit scene-linear RAW format⁵. Alongside X-OCN LT, the new X-OCN C1 and X-OCN C2 codecs reduce data size to support faster transfer and streamlined post-production workflows. The camera supports 17:9, 16:9, and Super 35mm scan modes. The Sony FX5 combines the Cinema Line look⁴ with production-ready operability in a compact and lightweight body. It records 5K video at up to 60 fps, 4K video at up to 120 fps, and Full HD video at up to 240 fps. The camera features high-precision autofocus powered by AI-based human pose estimation, which recognizes a subject’s eyes, head, and body. Real-time Tracking automatically follows subjects, while Auto Tracing White Balance combines visible-light and infrared sensor data with deep-learning light-source estimation for more stable and natural white balance⁵. The FX5 includes noise suppression settings that can be switched on or off depending on shooting requirements and post-production workflows. The camera also supports anamorphic lenses with a de-squeeze function for 1.3x, 1.5x, 1.6x, 1.8x, and 2.0x squeeze ratios. For handheld operation, the FX5 features 5-axis optical in-body image stabilization. The latest stabilization unit roughly doubles the roll correction range compared to the previous system⁶. Active Mode and Dynamic Active Mode⁷ provide additional stabilization options for handheld shooting. The camera is equipped with a 3.5-type, approximately 2.76-million-dot 16:9 touch-panel LCD monitor mounted on a 4-axis multi-angle arm. The monitor features a high-brightness adjustable panel and can tilt approximately 98 degrees upward, 40 degrees downward, and open approximately 180 degrees to the side. The "BIG6" home screen, carried over from CineAlta cameras, provides quick access to important settings including frame rate, exposure, and LUTs. The FX5 is designed for professional production environments with a high-efficiency cooling fan and optimized heat dissipation for stable long recording sessions. The lightweight rigid body includes multiple screw holes for direct accessory mounting without requiring a cage. Integration with the Monitor & Control application enables video monitoring and remote operation using smartphones, tablets, and Mac. The camera uses the high-capacity NP-SA100 battery with 2670 mAh, providing approximately 1.3 times the capacity of the Z-series NP-FZ100 battery. Two USB Type-C™ ports support timecode input through an optional adapter cable and external power via USB Power Delivery (PD)⁹. A wired LAN terminal provides remote operation and stable network connectivity for professional production workflows. Features Sony FX5 • Full-frame Exmor RS™ stacked CMOS sensor • BIONZ XR2™ processor with AI processing unit • 15+ stops dynamic range in S-Log3 • Three base ISO settings: 800 / 4000 / 12800 • Dual Gain Shooting function • Open Gate recording with full sensor readout • Internal X-OCN 16-bit RAW recording • X-OCN C1 and C2 codec support • 5K recording up to 60 fps • 4K recording up to 120 fps • Full HD recording up to 240 fps • AI-based human pose estimation AF • Real-time Tracking autofocus • Auto Tracing White Balance • Anamorphic de-squeeze function • 5-axis optical image stabilization • Active Mode and Dynamic Active Mode • Multi-angle 3.5-inch touch LCD monitor • CineAlta-inspired BIG6 interface Technical Specifications • Sensor: Full-frame Exmor RS™ CMOS • Sensor type: Fully stacked architecture • Processor: BIONZ XR2™ image processor • AI processing: Dedicated AI processing unit • Dynamic range: More than 15 stops in S-Log3 • Base ISO: ISO 800 / ISO 4000 / ISO 12800 • Recording format: X-OCN, X-OCN LT, X-OCN C1/C2 • RAW format: 16-bit scene-linear X-OCN • Video resolution: 5K / 4K / Full HD • Maximum frame rate: 240 fps (Full HD) • Stabilization: 5-axis optical IBIS • Autofocus: AI-based tracking AF • Monitor: 3.5-inch 2.76-million-dot LCD • Battery: NP-SA100 (2670 mAh) • Connectivity: USB Type-C™, wired LAN • Timecode input via optional adapter cable • External power via USB Power Delivery • Cooling system: High-efficiency fan system Dimensions and Weight Dimensions: Approx. 129 × 95.5 × 95.5 mm Weight: Approx. 670 g (camera body only) Weight: Approx. 890 g (with battery and media) Footnotes and Explanations ¹ Compared to FX3. ² Manual Base ISO selection is supported only in Cine EI and Flexible ISO modes. In Cine EI Quick mode, the optimal Base ISO is selected automatically according to the Exposure Index setting. ³ Gain is limited to the equivalent of 18 dB. This function may not be available depending on shooting settings. ⁴ Refers to visual expression, including the color and tone of images. ⁵ Available only when recording in X-OCN. ⁶ Compared to FX3. Based on Sony internal measurements. ⁷ In Dynamic Active Mode, the angle of view is reduced more than in Active Mode, and Clear Image Zoom is not available. Dynamic Active Mode is available up to 60 fps, while Active Mode is available up to 120 fps. The maximum gain in Dynamic Active Mode is 26 dB. Depending on the codec and frame-rate settings, Dynamic Active Mode may not be available. ⁸ The detachable OLED viewfinder cannot be used together with accessories attached via the Multi Interface (MI) Shoe, such as the XLR handle unit. ⁹ USB Power Delivery (PD) compatible external power supply and USB cable are not included. ¹⁰ Features and specifications are subject to change without prior notice. ¹¹ Supported languages vary by sales region/country. Some menu items are not supported by the screen reader function. ¹² Based on Sony research. Applies to recycled plastic used in the product body. ¹³ Production sites may change depending on the production period. ¹⁴ Plant-derived nonwoven fabric may not be available depending on the production period. ¹⁵ With a 50 mm lens at infinity, -1 m⁻¹. ¹⁶ For further details and to download Monitor & Control, Sony provides additional information through its official application resources. 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Mirrorless-Designed Leitz HEKTOR Cine Primes to ARRI Alexa Cinematic look meets mechanical precision. Until now, the new Leitz HEKTOR Cine lenses were developed exclusively for modern mirrorless camera systems. A major reason for this is the short flange focal distance of the mirrorless platforms they were designed for. Because the HEKTOR lenses were engineered around these short flange depths, using them on the ARRI Alexa was previously impossible. A conventional adapter would position the lens too far from the sensor, making infinity focus unattainable.P+S Technik now overcomes this limitation with HEXAMO—a specially developed mount system that enables the use of Leitz HEKTOR Cine lenses on the ARRI Alexa platform. How does the system work?The original ARRI lens mount can be removed by loosening four screws. The conversion is carried out on both the camera and the lens.HEXAMO Camera MountThe original Alexa mount block is replaced with a specially developed low-profile mount from P+S Technik, creating the required flange depth for the HEKTOR lenses.Lens Interface ConversionEach HEKTOR lens receives a precision-machined three-part rear interface assembly. This replaces the original rear mount and forms the dedicated mechanical counterpart to the HEXAMO camera mount. After installation, every lens is precisely calibrated to ensure accurate flange depth and reliable optical performance.Precision EngineeringThe combination of the HEXAMO camera mount and the dedicated rear lens interface enables HEKTOR lenses to operate on the ARRI Alexa with full infinity focus while maintaining complete compatibility with the camera's internal filter system.Secure Locking MechanismThe red locking ring provides a rigid, play-free connection between lens and camera, easily withstanding the forces generated by modern wireless follow focus (FIZ) systems on set. The ResultThe unmistakable look of the Leitz HEKTOR series—characterized by smooth focus roll-off, organic rendering, and distinctive flares—can now be combined with the proven ARRI Alexa platform.For cinematographers, rental houses, and productions, HEXAMO opens the door to a unique combination of the HEKTOR image signature and the reliability of the ARRI Alexa—something that was previously not possible.What's included1× P+S HEXAMO Camera Mount with red locking ring 1× Three-part Rear Lens Interface (per lens) 1× Mount Cap Note: The ARRI Alexa mount dummy shown in the product images is for display purposes only and is not included in the scope of delivery. P+S HEXAMO – Press Coverage Cined The Cine Lens 4KShooters Videoaktiv Film TV Video Panorama Indie Filmmakers Broadcast Pro British Cinematographer Pro Video Cinematography World NAVER Japan The HEXAMO Mount System is available exclusively from P+S Technik and CBM.
The Angénieux Type EZ-3 Tele 65 extends the EZ65 Series into the telephoto range, bringing the established EZ workflow and optical character into large-format 65 mm production. Designed for high-end cinema systems such as the Blackmagic URSA Cine 17K and Fujifilm GFX Eterna, it enables filmmakers to fully leverage large-format sensors while maintaining the ergonomics, resolution performance, and distinctive visual signature of the EZ lens family. This telephoto cinema zoom is engineered for professional production environments where reach, image quality, and consistency are critical. Key Features Telephoto zoom for large-format 65 mm cinema systems Consistent EZ Series optical character across focal range Optimized for high-resolution sensor performance Robust professional build with established EZ ergonomics Specifications Focal Length: 82–300 mm Aperture: T4.2–T5.4 Minimum Object Distance (MOD): 1.2 m / 4 ft Image Circle: 60 mm Weight: < 3 kg / 6.6 lbs Focus Scale: Dual scale (feet / meters) Lens Mount: LPL mount only (non-interchangeable) Important Notes Sold as single-format lens only (no lens packs available) Fixed LPL mount; mounts are not interchangeable... more infos coming soon
Available from July 23, 2026 The FUJINON GF19-35mmT3.5 PZ OIS WR is an ultra-wide power zoom lens developed specifically for the FUJIFILM GFX ETERNA 55 and GFX100 II camera systems. Designed for large-format filmmaking, it combines cinema-grade optical performance with advanced electronic control and a lightweight, production-ready design. Featuring the same handling, dimensions and visual characteristics as the GF32-90mmT3.5 PZ OIS WR, the new lens allows filmmakers to seamlessly cover focal lengths from ultra-wide to standard without changing accessories such as matte boxes or follow-focus systems. Both lenses maintain a constant T3.5 aperture throughout the zoom range while delivering perfectly matched colour reproduction, bokeh and focus falloff for consistent image quality across productions. The lens inherits the renowned design philosophy of the FUJINON Premista series and is equipped with internal motors for focus, zoom and iris control. Its large image circle fully covers the 55 mm diagonal 4:3 sensor of the GFX ETERNA 55, making it an ideal choice for high-end cinema applications. Key Features Ultra-wide 19-35 mm focal length range for large-format cinema production Constant T3.5 aperture throughout the entire zoom range Optimised for the FUJIFILM GFX ETERNA 55 and GFX100 II Covers the full 55 mm diagonal 4:3 sensor of the GFX ETERNA 55 Premium optical design with 23 elements in 15 groups, including 4 ED and 3 aspherical elements for outstanding sharpness and minimal aberrations Nano GI coating reduces flare and ghosting while maximising contrast and light transmission Internal focusing system with advanced optical design for compact dimensions and a weight of only 2.1 kg Identical barrel dimensions as the GF32-90mmT3.5 PZ OIS WR for fast lens changes without repositioning accessories Independent focus, zoom and iris rings with standard 0.8M cine gears Long 200° focus rotation for precise manual focus control Electronic control of focus, zoom and iris directly from the camera body or the dedicated GFX ETERNA 55 top handle Significantly reduced focus breathing for stable framing during focus pulls 13-blade iris produces smooth, natural-looking bokeh Integrated Optical Image Stabilisation (OIS) with improved motion detection for stable handheld shooting Fast, highly responsive internal motors for accurate autofocus and smooth electronic operation The FUJINON GF19-35mmT3.5 PZ OIS WR is the ideal ultra-wide companion to the GF32-90mmT3.5 PZ OIS WR, providing filmmakers with a matched power zoom system that combines exceptional optical quality, efficient workflows and the creative flexibility required for professional large-format cinema production.
Compact 1.5x Anamorphic Primes for Mirrorless Cinema Capture The Cooke AP3 Series represents a ground-up anamorphic design philosophy tailored specifically for modern mirrorless cinema systems. Built to extend Cooke’s anamorphic lineage into a compact, lightweight form factor, AP3 delivers true 1.5x anamorphic rendering with the optical discipline and consistency expected from high-end production optics. The series is engineered for full-frame coverage while maintaining compatibility with S35 workflows, making it a flexible toolset for narrative, commercial, and documentary cinematography. At its core, AP3 is defined by controlled anamorphic character rather than exaggerated optical artifacts. The rendering is deliberately balanced: organic but not unpredictable, expressive but technically reliable. Focus transitions are smooth and continuous, producing a natural sense of depth that supports visual storytelling without drawing attention to the lens itself. The 1.5x squeeze factor provides a classic anamorphic aspect ratio while optimizing sensor utilization on modern full-frame mirrorless cameras. Flare behavior is distinctly Cooke—subtle, cinematic, and spectrally coherent across the range. Rather than introducing stylized or artificial flare signatures, AP3 produces natural optical responses that integrate into scene lighting. Combined with smooth bokeh rendition and carefully controlled field curvature, the lenses produce a cohesive image structure that supports both controlled lighting environments and available-light shooting scenarios. The series maintains consistent color balance across all focal lengths, ensuring seamless intercutting within multi-camera or multi-lens productions. Despite its anamorphic pedigree, AP3 is optimized for operational efficiency on set. The compact housing, standardized 0.8 MOD focus and iris gears, and consistent 87 mm front diameter allow rapid rigging and compatibility with lightweight support systems, matte boxes, and gimbal setups. Interchangeable mount options further extend system flexibility across major mirrorless platforms. This positions AP3 as a practical solution for owner-operators and production environments where mobility and optical performance must coexist. The Cooke AP3 Series is therefore not positioned as a stylistic exaggeration of anamorphic imaging, but as a precise, production-ready toolset that integrates classical anamorphic aesthetics into contemporary mirrorless workflows. It bridges the gap between traditional cinema optics and next-generation camera systems while preserving the signature Cooke imaging philosophy: controlled highlight roll-off, dimensional rendering, and natural tonal reproduction. Features – Cooke AP3 Series • Ground-up anamorphic optical design for mirrorless cinema systems • True 1.5x anamorphic squeeze factor for full-frame sensor coverage • Full-frame coverage with S35 compatibility • Compact and lightweight construction optimized for modern production workflows • Consistent Cooke color science across all focal lengths • Controlled anamorphic flare characteristics with natural optical behavior • Smooth, organic defocus rendering with stable bokeh structure • Cinematic focus transitions with natural depth continuity • 9-blade iris assembly for smooth highlight rendition • T-stop range from T2.4 to T16 across the series • Standardized 0.8 MOD focus and iris gears for professional rig compatibility • Unified 87 mm front diameter across all lenses • 82 mm front filter thread for consistent accessory use • Interchangeable mount system (E / RF / L / M options) • Optimized for handheld, gimbal, and lightweight cinema setups Series Focal Lengths – Cooke AP3 • Cooke AP3 35mm T2.4 1.5x Anamorphic Lens • Cooke AP3 50mm T2.4 1.5x Anamorphic Lens • Cooke AP3 85mm T2.4 1.5x Anamorphic Lens
The Angénieux Type EZ-2 Wide Angle 65 brings the iconic EZ Series experience to the large-format 65 mm ecosystem, unlocking the full imaging potential of next-generation cinema cameras such as the Blackmagic URSA Cine 17K and Fujifilm GFX Eterna systems. Designed to preserve the core strengths of the EZ Series, it combines outstanding ergonomics, high optical performance, and the characteristic Angénieux cinematic look. Key Features Wide-angle cine zoom optimized for large-format 65 mm sensors Maintains the established EZ Series optical character and operational workflow High-resolution performance with a smooth, cinematic rendering Optimized for professional cinema and high-end production environments Specifications Focal Length: 27–72 mm Aperture: T3.6 Minimum Object Distance (MOD): 0.6 m / 2 ft Image Circle: 60 mm* (covers 58 mm image circle from 27–30 mm) Weight: < 2.5 kg / 5.5 lbs Focus Scale: Dual scale (feet / meters) Lens Mount: LPL mount only (non-interchangeable) Important Notes Available as a single-format configuration only (no lens packs) Fixed LPL mount; mounts are not interchangeable... more infos coming soon
The TRIBE7 BLACKWING7 Cine Primes are designed for cinematographers who want to move beyond purely technical image reproduction and instead actively shape the visual identity of their work in-camera. Rather than pursuing clinical sharpness or neutral rendering, this lens system is built around controlled optical character—where imperfection is not a flaw, but a creative parameter. At the core of BLACKWING7 lies a fundamentally different design philosophy: the lens is not just a capture tool, but an expressive instrument. Contrast behavior, flare response, halation, and focus falloff are not fixed characteristics, but elements that can be intentionally influenced. This approach allows filmmakers to establish a consistent yet highly individual visual language directly on set, reducing dependency on post-production manipulation. What sets the system apart in practical production use is its ability to integrate this level of optical control without sacrificing workflow efficiency. Despite its expressive nature, BLACKWING7 maintains consistent mechanics across the full focal length range, ensuring predictable handling for focus pullers, camera assistants, and operators. This balance between creative unpredictability in the image and operational consistency on set is a key reason why the system is increasingly adopted in high-end narrative and commercial productions. The system is built for large format cinematography and covers a comprehensive focal length range suitable for narrative, commercial, and high-end branded content production. All lenses share a consistent mechanical design, ensuring operational reliability and intuitive handling across the entire set, even in demanding production environments. A defining feature of the BLACKWING7 system is its tunable optical architecture. Each lens can be configured through distinct tuning profiles that alter its rendering behavior, enabling precise control over image mood and texture. In addition, interchangeable front elements further extend creative flexibility by modifying flare characteristics and tonal response. This combination of optical tuning and modular design results in a lens system that functions less like a traditional prime set and more like a creative imaging platform. The outcome is a highly cinematic, expressive image that retains technical precision while offering significant artistic latitude at the point of capture. Focal Lengths Focal Length Image Circle (mm) Close Focus (cm) Weight (kg) 17mm5622.01.75 20.7mm5623.01.5 23.7mm5626.01.5 27mm5634.01.7 37mm6745.71.6 47mm6044.51.5 57mm6748.31.6 77mm6766.01.4 107mm6768.51.4 137mm6781.31.5 Tuning Options Tuning Image Character Contrast Flare & Halation Use Case S Tuned Controlled, closest to neutral Balanced Subtle and controlled Commercial, mixed workflows, consistency T Tuned Organic, vintage leaning Softer roll off Noticeable glow and halation Narrative, cinematic storytelling X Tuned Highly expressive and stylized Lower, more variable Strong flares and pronounced halation Music videos, fashion, experimental visuals Features TRIBE7 BLACKWING7 Cine Primes • Tunable optical design for creative image control • Available in S Tuned, T Tuned, and X Tuned variants • Large format coverage for modern cinema cameras • Designed in collaboration with Bradford Young • Controlled spherical aberration for organic rendering • Customizable flare characteristics • Smooth contrast roll off for cinematic highlights • Interchangeable front elements for look variation • Consistent mechanical design across all focal lengths • High speed aperture for low light performance • Pleasing and structured bokeh rendering • Enhanced highlight halation depending on tuning • Reduced clinical sharpness for natural image feel • Engineered for narrative and commercial filmmaking • Robust housing for professional production environments • Precise focus mechanics with long focus throw • Optimized for modern digital sensors • Unique visual identity directly from the lens Technical Specifications • Lens series: BLACKWING7 Cine Primes • Available focal lengths: 17mm – 137mm • Maximum aperture: approx. T1.9 (varies by focal length) • Lens mount: PL mount • Sensor coverage: Large format (up to 67 mm image circle) • Tuning options: S Tuned, T Tuned, X Tuned • Interchangeable front elements supported • Iris design: 14 blade aperture • Focus rotation: approx. 270 degrees • Front diameter: standardized across set • Color rendering: tuned per optical profile • Flare behavior: controlled and adjustable • Contrast characteristics: profile dependent • Close focus distance: 22.0 cm – 81.3 cm • Housing material: high precision metal construction • Scale markings: dual side, engraved • Compatibility: industry standard cine accessories • Designed for high end digital cinema workflows Dimensions and Weight Dimensions vary depending on focal length. Front diameter is standardized across the set for seamless matte box compatibility. Each lens is optimized for balanced handling across handheld and studio configurations. Weight ranges from 1.4 kg to 1.75 kg depending on focal length.
T1.3 Large Format Cinema Primes with Consistent Organic RenderingThe Sigma Aizu Prime Line is a next-generation large-format cinema prime system designed for high-end motion picture production where optical consistency, speed and controlled image character are critical. Built and engineered in Aizu, Japan, the series combines modern high-resolution performance with a deliberately organic rendering approach, delivering a cinematic image that balances sharpness, texture and natural fall-off. At the core of the system is a constant T1.3 aperture across all focal lengths in the initial release. This enables a highly flexible exposure workflow in low-light environments while maintaining shallow depth of field control and smooth subject isolation. The optical design prioritizes cinematic expression over clinical rendering, producing images with refined contrast behavior, natural bokeh and carefully controlled highlight roll-off. The Aizu Prime Line is optimized specifically for cinema applications, with focus breathing and geometric distortion tightly controlled to ensure stable framing during rack focus operations and dynamic camera movement. Color reproduction and contrast are carefully matched across the entire range, allowing for seamless intercutting between focal lengths without perceptual shifts in image character. Despite their extreme speed, the lenses maintain a compact and production-friendly form factor. This supports a wide range of modern capture workflows, including handheld operation, Steadicam, gimbal systems and traditional studio setups. The mechanical design follows a unified standard across the set, enabling efficient lens changes and predictable handling for camera assistants in fast-paced production environments. The system is designed as a coherent focal length family covering the most commonly used ranges in narrative, commercial and episodic production. The initial release focuses on the core production set from 25mm through 75mm, providing a practical and highly usable optical package for contemporary cinematography workflows. Features – Sigma Aizu Prime Line • Constant T1.3 aperture across all available focal lengths • Large-format cinema prime lens system • Designed specifically for motion picture production workflows • Organic image rendering with modern optical precision • Controlled sharpness with natural roll-off characteristics • Smooth and cinematic bokeh rendition • Minimized focus breathing for stable reframing • Low distortion optical design • Matched color and contrast across all focal lengths • Consistent flare behavior throughout the series • Ø 46.3 mm image circle coverage • Full compatibility with large-format sensors • Compact and production-optimized housing design • Unified mechanical standard across the lens set • Optimized for handheld, gimbal, Steadicam and studio use Available Focal Lengths (Initial Release 25–75mm) • Sigma Aizu Prime 25mm T1.3 LF • Sigma Aizu Prime 27mm T1.3 LF • Sigma Aizu Prime 32mm T1.3 LF • Sigma Aizu Prime 35mm T1.3 LF • Sigma Aizu Prime 40mm T1.3 LF • Sigma Aizu Prime 50mm T1.3 LF • Sigma Aizu Prime 65mm T1.3 LF • Sigma Aizu Prime 75mm T1.3 LFcoming soon: • Sigma Aizu Prime 18mm T1.3 LF • Sigma Aizu Prime 21mm T1.3 LF • Sigma Aizu Prime 100mm T1.3 LF • Sigma Aizu Prime 125mm T1.3 LF
* Full details coming soon. The Angénieux Optimo Ultra 12x 65 is a cinema zoom lens engineered specifically as the new reference for large-format and 65mm digital cinematography. It features a new optical design developed to deliver uncompromising performance for next-generation 65 Format cameras. The lens provides full 60 mm image circle coverage, ensuring consistent contrast and resolution across the entire frame.This lens brings the signature Angénieux look to large-format applications, characterized by elegant skin rendering, smooth falloff, and cinematic consistency. With a 12x zoom range covering focal lengths from 46 mm to 556 mm and a constant T5.6 aperture, it is designed for high-end professional cinema environments where large sensor coverage is required. The optical design is specially optimized for Large-Format applications to provide consistent image quality throughout the entire zoom range.Features Angénieux Optimo Ultra 12x 65• New optical design developed specifically for Large-Format cinema applications • Optimized for next-generation 65 Format digital camera systems • Full 60 mm image circle coverage for consistent resolution across the entire frame • Signature Angénieux look with elegant skin rendering and smooth falloff • Versatile 12x zoom range covering 46 mm to 556 mm • Constant T5.6 aperture for cinematic consistency during zooming • Designed to deliver uncompromising performance in professional cinematographyTechnical Specifications• Product Reference: 66066539BA • Focal Length: 46–556 mm • Aperture: T5.6 • Image Circle: 60 mm • Minimum Object Distance (MOD): 1.29 m / 4'3"Dimensions and Weights• Length: 560 mm / 22.05 in • Weight: 12.8 kg / 28.2 lbs
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The FUJIFILM GFX ETERNA 55 Cinema Camera is more than just a digital cinema camera – it is a purpose-built creative instrument designed to redefine cinematic storytelling. As Fujifilm’s first camera developed primarily for professional filmmaking, it combines the company’s unrivaled legacy in film color science with groundbreaking digital technology, resulting in images that are both technically pristine and emotionally powerful. Images: Fujifilm At the heart of the GFX ETERNA 55 lies one of the tallest sensors available on the open market: a 44 x 33 mm large-format CMOS II HS sensor with an effective resolution of 102 megapixels. Its 4:3 open-gate design provides nearly 1.7 times the image height of traditional Super 35mm, creating an expansive canvas for filmmakers. This enables unique aesthetic possibilities when shooting with both spherical and anamorphic lenses, delivering visuals of unprecedented scale and character. Whether it’s capturing sweeping landscapes, intimate close-ups, or anamorphic widescreen epics, the GFX ETERNA 55 gives filmmakers the freedom to shape every frame with cinematic intent. Fujifilm’s celebrated film heritage is fully embedded in this system. With 20 built-in Film Simulations, including iconic looks like ETERNA, PROVIA, Velvia, and ACROS, cinematographers can access creative color palettes inspired by decades of analog film tradition. These simulations provide beautiful, production-ready images straight out of the camera—ideal for fast turnaround projects such as commercials, corporate films, or documentaries. For productions requiring more intensive post-production workflows, the GFX ETERNA 55 supports F-Log2 and F-Log2 C gamma profiles, delivering over 14 stops of dynamic range for maximum flexibility in grading. Filmmakers can also store up to 16 custom 3D LUTs in-camera, allowing them to preview their intended final look on set and streamline collaboration between production and post. In modern filmmaking, workflow efficiency is just as critical as image quality. The GFX ETERNA 55 is engineered with this in mind, supporting Apple ProRes 422 HQ, 422, and 422 LT for high-quality internal recording, along with H.265/HEVC for lighter file management. The ability to record proxy files in ProRes Proxy dramatically reduces editing workloads and accelerates turnaround times. For productions requiring the highest level of image fidelity, the camera outputs up to 8K/30p 12-bit RAW via HDMI, ensuring that every nuance of the large-format sensor can be preserved for demanding post-production pipelines. Its integration with Frame.io Camera to Cloud further enhances collaboration by enabling direct upload of footage to the cloud for instant review, approval, or editorial assembly, no matter where the crew is located. Despite its technical power, the GFX ETERNA 55 maintains a compact and ergonomic design. Weighing approximately 2.0 kg, it is lightweight enough for solo shooters yet robust enough for professional sets. Dual side monitors allow both operators and assistants to access controls easily, while a 2000-nit 5" LCD provides clear visibility even in challenging outdoor conditions. The inclusion of a multi-function dial for lens control and a built-in electronic variable ND filter ensures precise handling of exposure and creative depth-of-field control on the fly. Reliability is another hallmark of the GFX ETERNA 55. With support for both CFexpress Type B and SD cards, as well as SSD recording, filmmakers can choose the media that best fits their workflow. The hot-swappable NP-W235 battery system allows continuous shooting without interruptions, a vital feature for professional productions where downtime is not an option. Advanced connectivity options—including HDMI, SDI, LAN, USB-C, and audio I/O—ensure seamless integration with studio and on-location setups alike. From independent features and high-budget films to music videos, commercials, and live events, the FUJIFILM GFX ETERNA 55 Camera is designed to meet the demands of diverse filmmaking environments. It combines Fujifilm’s iconic approach to color with cutting-edge digital cinema technology, delivering imagery that resonates with authenticity and impact. For creators who demand the highest level of visual storytelling, the GFX ETERNA 55 is not just a camera—it is the ultimate creative partner. Features – FUJIFILM GFX ETERNA 55 Camera 102MP large-format CMOS II HS sensor (44 x 33 mm) 4:3 open-gate recording for cinematic framing Sensor nearly 1.7x larger than Super 35mm Over 14 stops of dynamic range with F-Log2 / F-Log2 C 20 built-in Fujifilm Film Simulations for instant cinematic looks Supports up to 16 in-camera 3D LUTs for live preview and shooting Native dual ISO: 800 and 3200 for extreme lighting conditions Supports Apple ProRes 422 HQ/422/LT and H.265/HEVC codecs Proxy recording options for faster post-production workflows Frame.io Camera to Cloud integration for instant collaboration RAW output: up to 8K/30p 12-bit via HDMI High-brightness 2000-nit 5" LCD with touchscreen and tilt adjustment Dual side monitors for operator and assistant access Multi-function control dial for focus, iris, zoom, and ND filter Built-in electronic variable ND filter (ND4–ND128) Lightweight body (approx. 2.0 kg) for portability Dual CFexpress Type B and SD card slots for flexible recording media Intelligent Hybrid Autofocus with subject recognition (face, animal, vehicles, etc.) Wireless connectivity with Wi-Fi, Bluetooth, and LAN terminal Hot-swap battery system with NP-W235 for uninterrupted filming Technical Specifications Model: FUJIFILM GFX ETERNA 55 Lens Mount: FUJIFILM G Mount Sensor: 44 x 33 mm GFX 102MP CMOS II HS Effective Pixels: 102 million Image Processor: X-Processor 5 ND Filter: Electronic Variable (ND4–ND128) Dynamic Range: 14+ stops (F-Log2/F-Log2 C) ISO Range: 100–12800 (expandable to 25600) Shutter Speed: 1/8 sec to 1/8000 sec, 5.6°–360° shutter angle Autofocus: Intelligent Hybrid AF with phase & contrast detection Recording Formats: MOV, Apple ProRes 422 HQ/422/LT, H.265/HEVC Max Resolution: 8K (8192 x 4320) up to 30p Recording Bitrates: up to 720 Mbps RAW Output: 8K/30p 12-bit via HDMI Media: CFexpress Type B, SD (UHS-I/II), SSD (up to 2TB) Monitor: 5" 2000-nit LCD touchscreen + dual 3" side monitors Connectivity: HDMI Type A, USB-C, LAN, 12G-SDI, TC IN/OUT, GenLock Wireless: Wi-Fi (802.11 a/b/g/n/ac), Bluetooth 4.2 Audio: 3.5mm mic in, 3.5mm headphone out, stereo recording support Power: NP-W235 Li-ion, V-mount compatible, AC adapter included Hot-swap battery support Dimensions & Weight Width: 110.8 mm Height: 138.2 mm Depth: 176.8 mm Weight (body only, excl. battery & media): approx. 2.0 kg Operating Temperature: -10°C to +40°C Operating Humidity: 10–80% (non-condensing)
Discover New Creative Dimensions with the IBE Raptor Scope FF In the realm of high-end optics, the IB/E Raptor Scope FF is a groundbreaking tool designed for filmmakers who demand ultimate precision, versatility, and visual impact. Engineered with a high-definition optical system, this snorkel-style lens delivers exceptional clarity and detail with Full Frame image coverage (up to 44mm). Whether capturing fine textures, reflective surfaces, or impossible angles, the Raptor Scope translates every scene into a vivid, distortion-free image—perfectly suited for today’s highest resolution sensors. Built with a robust mechanical design and crafted from premium materials, the Raptor Scope stands up to challenging environments on set or on location. Internal focusing maintains a constant lens length, while intuitive controls place creative flexibility at your fingertips. The innovative image rotation compensator allows for 360° roll shots without the need to rotate the entire camera setup—ideal for dynamic storytelling and unique camera movements. This feature is especially powerful when combined with unlimited pan and tilt capabilities. Thanks to its modular system, the Raptor Scope supports multiple camera and lens mounts. A UMS PL mount is standard, with additional rear options like LPL, EF, or FZ available. The front accepts Leica M-mount lenses, and alternative mounts such as PL, LPL, or Canon EF are also available. A rear 0.75x booster enables a quick conversion to Super35 format, increasing the aperture to F/4.0, making the Raptor Scope a flexible solution for both Full Frame and Super35 productions. Features – IB/E Raptor Scope FF Full Frame (44mm) & Super35 coverage with optional rear booster 360° unlimited pan, tilt & roll movements Image rotation compensator for dynamic shots without rotating the camera Constant lens length with internal focusing Interchangeable front mounts: Leica M (standard), optional PL, LPL, Canon EF Interchangeable rear camera mounts: UMS PL (standard), optional LPL, EF, FZ Aperture F/5.6 (FF) | F/4.0 (S35 with booster) Advanced color correction (APO) Rugged design for high-demand production environments Technical Specifications – IB/E Raptor Scope FF Image Circle: +44 mm / +1.73'' Aperture: F/5.6 at Full Frame, F/4.0 with 0.75x Booster (S35) Focus Rotation: 180° Iris Rotation: 90° Focus/Iris: Both located near camera Camera Mount (Rear): UMS PL mount (standard), optional LPL, EF, FZ Front Lens Mount: Leica M (standard), optional PL, LPL, Canon EF Dimensions & Weight Length (flange to front): 32.3 cm / 12.7” (PL to M version) Weight: 4.4 kg / 9.8 lb Support Thread: ¼" thread for standard lens supportPDF DOWNLOADSRaptor Scope Data Sheet Raptor Scope AccessoriesRaptor Scope ManualRaptor Scope Lens Set
Sony Venice 2 8K – Redefining the Art of Cinematic Imaging Unmatched Resolution and Sensor Performance The Sony Venice 2 8K represents a pinnacle in digital cinematography, offering a full-frame 8.6K CMOS sensor capable of capturing extraordinary detail across every frame. Unlike cameras that chase resolution as a mere number, the Venice 2 integrates its sensor with advanced imaging technology and dual base ISO (500 / 2500), allowing cinematographers to achieve pristine results in both high-light and low-light scenarios. Its 16+ stops of dynamic range preserve subtle shadow detail and smooth highlight roll-off, ensuring images maintain a natural, cinematic depth even in challenging lighting. Whether filming sweeping landscapes, intricate interior scenes, or dimly lit narratives, the Venice 2 provides unmatched control over exposure and tonal gradation. This makes it a versatile choice for productions where lighting is dynamic or unpredictable, enabling filmmakers to capture every nuance of the scene without compromise. Modular Design for Maximum Flexibility One of the Venice 2’s defining features is its modular architecture, designed for adaptability on set. The camera’s sensor, core, and extension units can be separated, allowing it to be rigged for gimbals, drones, handheld setups, or fully equipped studio mounts. Its lightweight magnesium alloy body combines durability with portability, ensuring reliable performance during extended shoots, whether on location or in controlled studio environments. Lens versatility further enhances creative freedom. With interchangeable PL and E-mount options, filmmakers can pair the camera with a wide array of high-end prime and zoom lenses, including anamorphic optics, to achieve signature cinematic looks. This modular approach ensures the Venice 2 fits seamlessly into complex productions without limiting artistic choices. Advanced Color Science and Cinematic Look Sony’s Venice Color Science is central to the Venice 2, offering filmmakers an authentic, filmic image quality. Skin tones appear natural, highlights roll off smoothly, and shadows retain rich texture, making the camera ideal for character-driven narratives. Its S-Gamut3.Cine color space and S-Log3 workflow support HDR production and provide extensive grading latitude in post-production. The camera also supports real-time LUT previews, allowing directors and DPs to evaluate the intended look on set. This immediate feedback is invaluable for high-budget productions where visual consistency and creative intent are critical. By combining sensor performance with advanced color science, Venice 2 ensures every frame can be graded precisely to meet the director’s vision. 8K Recording and Versatile Workflow Options The Venice 2 doesn’t just excel in resolution—it integrates flexible shooting formats for modern production demands. 8K full-frame recording at up to 60fps enables slow-motion capture, high-resolution reframing, and precise VFX integration. For productions requiring compositing, the camera offers 6K and 4K crop modes, providing creative flexibility without sacrificing quality. Professional post-production is supported through 16-bit RAW output and codecs such as X-OCN XT and ProRes HQ, ensuring that every nuance captured by the sensor is preserved. This combination of high-resolution capture and robust codec support allows cinematographers and post-production teams to handle complex workflows efficiently while retaining maximum image fidelity.Sony Venice 2 8K - Menu Simulator Practical Advantages on Set The Venice 2 is built not only for image quality but also for practical, day-to-day production demands. Its dual base ISO enables faster setup and reduces dependency on extensive lighting equipment. Its robust construction ensures uninterrupted operation in extreme environments, while modularity allows rapid reconfiguration to meet changing shot requirements. Whether used for feature films, commercials, high-end episodic content, or VFX-heavy productions, the Venice 2’s combination of flexibility, reliability, and unmatched image quality makes it a trusted tool for professional cinematographers around the world. Why Filmmakers Choose the Venice 2 Open in new window In a market crowded with high-resolution cinema cameras, the Sony Venice 2 8K stands out not only for its specifications but for its ability to translate technical excellence into creative freedom. Every aspect of the camera—from sensor design and dual base ISO to modularity and color science—has been engineered to empower filmmakers to tell stories without compromise. Its combination of resolution, dynamic range, color fidelity, and adaptability ensures that every project can achieve its full visual potential. For storytellers seeking more than a digital camera, the Venice 2 becomes a partner in cinematic expression, capturing imagery that is richly detailed, emotionally compelling, and visually transformative. From the quietest character moments to epic cinematic sequences, it delivers a consistent, filmic quality that elevates every frame.Key Features of the Sony Venice 2 8K Sony Venice 2 mit Extension System Mini The Sony Venice 2 8K offers an impressive array of features designed for professional filmmakers who require precision, flexibility, and high-end image quality. At the forefront is the camera’s full-frame 8.6K sensor, which provides a level of detail that is unmatched in digital cinematography. This sensor captures subtle textures and fine details, making it ideal for large-format productions and high-end visual effects workflows. The dual base ISO of 500 and 2500 ensures that the camera can handle both brightly lit exteriors and low-light interiors with minimal noise, giving cinematographers greater creative freedom and reliability on set. The camera supports 8K full-frame recording at up to 60 frames per second, which allows for smooth slow-motion and provides the flexibility to reframe or crop in post-production without compromising image quality. For productions with heavy VFX requirements, the Venice 2 offers 6K and 4K crop modes, simplifying compositing workflows while maintaining the sensor’s full dynamic range. Recording is supported through 16-bit RAW output and professional codecs such as X-OCN XT and ProRes HQ, ensuring that every subtle nuance of the captured image is preserved and ready for post-production. Sony’s renowned Venice Color Science is central to the camera’s appeal. The combination of S-Gamut3.Cine color space and S-Log3 log workflow provides filmmakers with an expansive dynamic range and a broad color palette for grading in post. Skin tones remain natural and lifelike, highlights roll off smoothly, and shadows retain rich detail, making it easier to achieve cinematic results directly from the camera. Real-time LUT previews further enhance on-set workflow, allowing directors and cinematographers to evaluate color grading in real time and make creative decisions confidently. The Venice 2’s modular design is another standout feature, offering flexibility to configure the camera for different shooting scenarios. Its separable sensor, core, and extension units can be mounted on handheld rigs, gimbals, drones, or traditional studio setups. Lens compatibility includes interchangeable PL and E-mount options, allowing the use of a wide variety of primes, zooms, and anamorphic lenses. Combined with its lightweight magnesium alloy body and integrated cooling system, the Venice 2 can endure long shooting days while remaining adaptable to complex production environments.Technical Specifications and Workflow Advantages The technical specifications of the Sony Venice 2 8K reflect its positioning as a top-tier digital cinema camera. The camera supports full-frame 8.6K resolution (8640 x 5760), with frame rates up to 60fps and an extended ISO range for diverse lighting conditions. Its dual base ISO allows filmmakers to choose optimal sensitivity without compromising dynamic range, which exceeds 16 stops for outstanding highlight and shadow detail. Recording options include professional-grade X-OCN, ProRes, and 16-bit RAW formats, ensuring compatibility with high-end post-production workflows. The Venice 2 is designed for practical use in demanding production environments. Its modularity allows quick reconfiguration for studio, location, or aerial work, and its durable construction ensures consistent performance in extreme conditions. Multiple lens mounts provide the creative freedom to pair the camera with virtually any professional optics, supporting both standard spherical and anamorphic lenses. Real-time LUT preview, high dynamic range support, and flexible recording modes make it a versatile tool for directors and cinematographers who need creative control from set to post. In addition, the Venice 2 supports multi-camera setups, with synchronized recording and SDI output for monitoring and live previews. This makes it ideal for complex productions such as commercials, episodic content, and feature films, where multiple cameras are often used simultaneously. By combining high-resolution capture, advanced color science, flexible workflow options, and practical usability, the Venice 2 ensures that filmmakers can focus on creative storytelling rather than technical limitations. Applications and Creative Potential The Sony Venice 2 8K is suitable for a wide range of cinematic applications, from narrative features and commercials to high-end episodic content and virtual production. Its ability to capture ultra-detailed 8K imagery makes it ideal for large-format projection and VFX-heavy sequences, while its dual base ISO and modular design enable filmmakers to adapt quickly to changing lighting and production environments. In practice, cinematographers have used the Venice 2 for complex tracking shots with gimbals or drones, high-speed slow-motion sequences, and intimate dialogue-driven scenes that require natural skin tones and nuanced shadows. The camera’s color science and dynamic range allow for consistent results across diverse lighting conditions, reducing the need for extensive color correction in post. Whether shooting a controlled studio environment or unpredictable real-world locations, the Venice 2 provides the technical reliability and creative freedom necessary for high-end productions. Sony Venice 2 8K – Technical Specifications Sensor & Image Quality Full-frame 8.6K CMOS sensor (36 x 24 mm) Maximum resolution: 8640 x 5760 pixels Frame rates: up to 60fps in 8K Dual base ISO: 500 / 2500 for optimal low- and high-light performance Dynamic range: over 16 stops for shadows and highlights High sensitivity with minimal noise Wide latitude for post-production grading Recording & Formats 16-bit RAW output for maximum image fidelity X-OCN XT and X-OCN recording for efficient post workflows ProRes HQ, ProRes 422 support Flexible crop modes: 6K and 4K for VFX and reframing High frame rate recording options for slow-motion sequences Color & Log Profiles Venice Color Science for natural, cinematic skin tones S-Gamut3 / S-Gamut3.Cine wide color gamut S-Log3 log gamma for extended dynamic range HDR support: HLG and S-Log3 workflows Real-time LUT preview on set for accurate creative monitoring Modular Design & Body Modular construction: separable sensor, core, and extension units Lightweight magnesium alloy body for durability Integrated cooling system for extended shooting sessions Rugged and reliable for extreme shooting conditions Compact design suitable for handheld, gimbal, drone, or studio rigs Lens & Optics Interchangeable PL and E-mount options Supports spherical and anamorphic lenses Full-frame coverage for cinematic lenses Optimized for both high-resolution primes and zooms Workflow & Monitoring Multi-camera synchronization for complex shoots SDI output for monitoring and live previews HDMI 2.1 for external displays and grading reference Flexible LUT application on set for creative decision-making Supports on-set color grading and immediate review Media & Connectivity Media options: Codex Capture Drives High-speed data transfer for RAW and ProRes files Network and remote control compatible File management optimized for post-production pipelines Additional Features Versatile for feature films, commercials, episodic content, and virtual production Ideal for high-end VFX workflows and large-format projections Reliable in unpredictable lighting and location conditions Smooth highlight roll-off and preserved shadow detail Enables precise creative control from set to post-production Comparison: Sony Venice 2 8K vs Sony Venice 2 6K Feature Sony Venice 2 8K Sony Venice 2 6K Sensor Full-frame 8.6K CMOS Full-frame 6K CMOS Maximum Resolution 8640 x 5760 6048 x 4032 Frame Rates Up to 60fps in 8K Up to 60fps in 6K Dual Base ISO 500 / 2500 500 / 2500 Dynamic Range 16+ stops 16+ stops Recording Formats X-OCN XT, X-OCN, ProRes HQ, 16-bit RAW X-OCN, ProRes HQ, 16-bit RAW Lens Mount PL / E-mount interchangeable PL / E-mount interchangeable Color Science Venice Color Science, S-Gamut3.Cine, S-Log3 Venice Color Science, S-Gamut3.Cine, S-Log3 HDR Support S-Log3, HLG S-Log3, HLG Weight (Body Only) 2.3 kg 2.2 kg Media Codex Capture Drives, SDI Output, HDMI 2.1 Codex Capture Drives, SDI Output, HDMI 2.0 Modular Design Separable sensor, core, and extension units Separable sensor and core unit Cooling System Integrated cooling for extended shoots Integrated cooling Crop Modes 6K / 4K crop modes for VFX 4K crop mode for VFX Multi-camera Support Yes, synchronized recording Yes, synchronized recording Workflow Optimization Real-time LUT preview, post-production ready Real-time LUT preview, post-production ready Ideal Applications Feature films, commercials, episodic content, VFX-heavy productions Feature films, commercials, episodic content
Ultra-Reliable Long-Range Wireless Video The SWIT Crew System is a new generation of professional wireless video transmission solutions designed for filmmakers, broadcasters, and live production teams. Powered by the advanced KUWI 2.0 Pro chipset, it ensures maximum stability, long-range performance, and ultra-low latency. Operating in the 5.1–5.9 GHz DFS-compliant frequency band with proprietary anti-interference RF technology, the system automatically scans and selects the optimal channel, providing robust performance even in crowded environments. With latency as low as 32 ms, visual lossless H.265 encoding up to 26.8 Mbps, and support for 3G-SDI, HDMI® and USB-C capture, the Crew System delivers reliable high-quality HD video for PC and Mac workflows. It supports 1T→4R multicast, ensuring one transmitter can seamlessly feed multiple receivers without signal loss. Embedded metadata and timecode trigger transmission, combined with AES-256 dual encryption protection, guarantee both professional workflow integration and maximum security. Each unit features a high-bright OLED display for intuitive configuration, while multiple power supply options (NP-F, V-Mount, 2-pin LEMO, USB-C) make the system highly versatile. The Crew family consists of four models—Crew, Crew V, Crew Max, and Crew V-Max—tailored to different on-set needs while remaining fully cross-compatible.Designed for Professional Film and Broadcast Work The SWIT Crew System is designed for professional film and broadcast environments, providing reliable wireless video transmission for every stage of production. It ensures that directors, camera assistants, DITs, and other crew members can monitor high-quality video feeds with minimal latency, even in complex shooting scenarios. Whether used on feature films, commercials, live events, or studio productions, the Crew System delivers consistent performance across multiple receivers simultaneously, thanks to its advanced multicast capabilities. Its robust anti-interference RF technology and long-range transmission make it ideal for both indoor and outdoor sets, allowing crews to maintain clear, uninterrupted communication and real-time decision-making. By combining flexibility, ultra-low latency, and professional-grade encryption, the SWIT Crew System enhances collaboration on set and ensures that every member of the production team has access to the same high-quality video signal at all times. SWIT Crew Versions • CrewThe base model Crew offers a compact form factor with NP-F battery support and 1.2 km / 4 000 ft line-of-sight transmission distance. Ideal for mobile productions and lightweight camera setups. • Crew V The Crew V includes the same transmission performance as the Crew but adds a dual-sided V-Mount design, allowing direct installation on V-Mount powered cameras and rigs with passthrough power. • Crew Max The Crew Max extends the range to 3 km / 10 000 ft line-of-sight with a built-in high-gain panel antenna on the receiver, combining NP-F power on the transmitter with V-Mount on the receiver for maximum flexibility. • Crew V-Max The flagship Crew V-Max combines 3 km range with dual-sided V-Mount transmitter and receiver design, making it the most powerful choice for demanding professional workflows and large-scale productions. Features – SWIT Crew System KUWI 2.0 Pro wireless technology (not Wi-Fi) Proprietary anti-interference RF system 5.1–5.9 GHz license-free DFS compliant Auto scan and channel selection 3G-SDI, HDMI® and USB-C HD video output H.265 codec up to 26.8 Mbps, visual lossless Consistent ultra-low 32 ms latency 1T→4R multicast capability Metadata and timecode trigger transmission High-bright OLED display for setup and monitoring AES-256 dual encryption protection Flexible power options: NP-F, V-Mount, 2-pin LEMO, USB-CTechnical Specifications – SWIT Crew System Transmission Distance: up to 3 km / 10 000 ft (depending on model) Video Interfaces: 3G-SDI, HDMI®, USB-C capture for PC/Mac Codec: H.265 up to 26.8 Mbps Latency: ~32 ms Multicast: 1T→4R Frequency: 5.1–5.9 GHz, DFS compliant RF Technology: KUWI 2.0 Pro with proprietary anti-interference Encryption: AES-256 dual encryptionBrochure DownloadDownload the Crew Brochure here
The Leitz HEKTOR lenses mark a new chapter in the story of Leitz Cine, entering the world of mirrorless cameras with a set of prime lenses designed to inspire creativity and deliver timeless cinematic beauty. Available in six focal lengths – 18mm, 25mm, 35mm, 50mm, 73mm and 100mm – each with a consistent T2.1 aperture, the HEKTOR series combines historical optical character with modern reliability and build quality. Image: Leitz Inspired by over 100 years of lens-making heritage, the look of the HEKTOR draws from the legendary Leica M lenses of the 1930s and 1950s, as well as the expressive Petzval lenses. The result is a visual signature that blends dynamic flares, field curvature and subtle spherical aberrations, evoking a sense of soul and emotion while staying distinctly cinematic. Unlike the hyper-corrected aesthetics of many modern optics, the HEKTOR lenses offer an organic, character-driven image with depth and nuance that flatters digital sensors. Image: Leitz Engineered with precision in Germany, each lens is fully manual and crafted with the same care and attention as Leitz’s premium lines such as SUMMILUX-C and HUGO. Although created for more affordable camera systems, the HEKTOR lenses embody the brand’s uncompromising philosophy: character first, quality first. Every detail is designed for longevity, serviceability, and ease of use in professional workflows. Image: Leitz With an 80mm front diameter and matched focus and iris ring positions across all focal lengths, lens changes are quick and efficient. The 120° focus throw and 49° iris rotation ensure smooth operation, whether pulling focus or working handheld. A nine-blade circular iris maintains consistent roundness across all stops, producing pleasing bokeh and natural out-of-focus areas. Image: Leitz The silver anodized finish pays homage to the original Leica Hektor lenses designed by Max Berek in the 1930s, while the inclusion of a 73mm focal length directly references a classic from the original line. This balance of historical inspiration and modern execution makes the HEKTOR lenses more than just tools—they are instruments designed to elevate storytelling, image by image. Image: Leitz For cinematographers seeking glass with soul, the Leitz HEKTOR lenses are built to stand out. More than technical perfection, they offer character, emotion, and a unique visual fingerprint that endures. Features of Leitz HEKTOR Lenses Six focal lengths: 18mm, 25mm, 35mm, 50mm, 73mm, 100mm Consistent T2.1 maximum aperture across all lenses Full-frame image coverage for modern digital sensors User-interchangeable mounts: E, L, RF, Z Inspired by 100+ years of Leica optical heritage Character-driven design with Petzval-inspired rendering Organic flare, field curvature and spherical aberrations for a unique look Modern coatings reduce chromatic aberration and veiling glare Silver anodized finish with heritage-inspired design Compact, lightweight build with robust construction 80mm uniform front diameter across all focal lengths 77mm screw-in filter thread (except 18mm) 120° focus rotation for precise manual focus 49° iris rotation with matched positions for fast lens swaps Nine-blade iris for smooth, circular bokeh Engraved metric and imperial focus scales Fully manual operation for direct creative control Built and assembled in Germany by Leitz Cine experts Designed for durability, serviceability, and long-term use Technical Specifications Mount options: L, E, Z, RF Focal lengths: 18mm, 25mm, 35mm, 50mm, 73mm, 100mm Maximum aperture: T2.1 Image coverage: Full Frame Optical design: non-aspherical, spherical-only Coating: modern anti-reflective with warm natural tone Focus rotation: 120° Iris rotation: 49° Iris: 9 blades, circular across all stops Focus and iris ring alignment: matched across all lenses Engraved focus scales: imperial and metric Filter thread: M77 x 0.75 screw-in (except 18mm) Outer diameter: 80mm Manual control: focus and iris Operating style: fully mechanical, no electronics Build quality: precision engineered and assembled in Germany Finish: silver anodized heritage design Serviceability: designed for easy maintenance and long-term reliability Dimensions & Weight Front diameter: 80mm Filter thread: 77mm (25mm–100mm lenses) Filter thread: none (18mm lens) Length: varies by focal length Weight: compact and lightweight, approx. 600–900g depending on focal length
The IB/E PLx1.4 65-E Asph Expander is designed to allow the use of most of the FF and VV lenses on the new 65mm digital cameras. The projected image diameter and the focal length of the lens is increased by a factor of 1.4. The PLx1.4 65-E Asph is characterized by a robust and durable mechanical design with stainless steel PL mounts and anodized aluminum. Inside it carries high-index low-dispersion glass and aspheric lenses to ensure the highest possible resolution and contrast with minimal optical degradation, while the flare-minimized surfaces keep the original lens character. The electronic metadata pass-through has been introduced to bring the lens information to the recorded takes. It is not compatible with mirror cameras, nor the UMS system. Features Electronic pass-through for lens metadata 60mm image diameter (65mm sensors) High-index, low-dispersion glass Robust mechanical design Extended color correction (APO) Small & lightweight Technical Data Max. Image Diameter (mm): 60 mm / 2.36'' Magnification: 1.4x Electronic Data Pass-through Max. T-Stop transmission: 1.4 Max. recommended T-Stop: 1.9 Camera/Lens Mount: PL/PL Data Sheet Download IB/E PLx1.4 65-E Asph Sheet