IB/E Optics Raptor T2.9 100mm Cine Macro Lens - UMS PL Mount The RAPTOR lenses featuring full frame (24×36) coverage and beyond, 1:1 magnification, T-Stop 2.9 as well as robust and durable professional cine mechanics. Features: Maximum magnification 1:1 No change in length, thanks to internal focusing extended color correction (APO) Aperture T 2.9-T22 Constistent distance from flange to iris- and focusring Front diameter of 95 mm M0.8 gear wheels for focus and iris UMS PL Mount (LPL, Canon EF, Sony NEX E,...) Robust and durable mechanical design Data sheet downloadAPO CINE MACRO LENS FAMILY
Next generation camera with forward thinking full frame sensor, phenomenal color science and user-friendly operation Simple and intuitive Usability and reliability of the camera is one of the major concerns for operators, especially in tough or time-critical filming conditions. With a user-friendly design, clear and simple menu navigation, and a highly durable, reliable construction, VENICE lets you simply concentrate on filming, and not the camera. Full-Frame sensor for cinema VENICE features an all-new Full-Frame sensor with the classic 36 x 24-mm dimensions that have been a staple of photography for over 100 years. Designed exclusively for high-end cinematography, this sensor can capture images up to a maximum resolution of 6048 x 4032. Switchable imager modes mean VENICE can support an unprecedented number of cinematic aspect ratios for complete creative freedom: Full width 36 mm 6K In full-frame, you can use the full 6048 pixel width of the sensor for 6K imager modes such as 3:2, 2.39:1*, 1.85:1, 17:9, and 16.9*. Equivalent to 4-perforation motion picture film, these 6K modes allow for extra-shallow depth of field, super-wide shooting, and other creative effects. Super35 anamorphic 4K For super-wide screen productions, VENICE offers two full-height 2x squeeze anamorphic imager modes that include 6:5 and 4:3 recording modes for 12:5 (known as 2.39:1) and 8:3 (2.66:1) scenes, respectively. Explore how VENICE can meet your production requirements with the firmware and licensing requirements in the aspect ratio chart: Fast shutter VENICE’s high-speed readout sensor minimizes the jello effect typical in CMOS sensors. Phenomenal latitude VENICE has an exceptional 15+ stops of latitude, with low noise for extraordinary performance in delivering phenomenal images in conditions from searing sunlight to almost no light. VENICE’s real-world performance also excels at High Dynamic Range imaging and allows unprecedented creative freedom in grading. More colors for more expression VENICE can exceed Rec. 2020 color space. This means the color range is wider than DCI-P3 and can beautifully reproduce the true color of the scene in front of your lens. This also provides the broad palette in the grading suite using the established workflow of Sony’s third-generation LOG gamma encoding (S-Log3) and ultra-wide color space. More colors for more expression VENICE can exceed Rec. 2020 color space. This means the color range is wider than DCI-P3 and can beautifully reproduce the true color of the scene in front of your lens. This also provides the broad palette in the grading suite using the established workflow of Sony’s third-generation LOG gamma encoding (S-Log3) and ultra-wide color space. Dual Base ISO VENICE has a base ISO of 500 to provide the optimal dynamic range for typical cinematography applications with on-set lighting. A secondary High Base ISO of 2500 excels in low-light High Dynamic Range capture, with an exposure latitude from 6 stops over to 9 stops under 18% Middle Gray, for a total of 15 stops. High Base ISO 2500 is ideal whenever you’re using slow lenses or shooting dimly-lit environments. Combining ISO2500 with VENICE’s internal eight-step Optical ND filter system offers the ability to emulate different ISOs while maintaining maximum latitude of +6 and -9 stops, enabling you to use VENICE as an ISO1250 camera. World’s first 8-step mechanical ND Filters VENICE is the world’s first camera of its class with a servo-controlled 8-step mechanical ND filter mechanism built into the camera chassis. It offers a massive ND of 0.3 (1/2 = 1 stop) to ND2.4 (1/256 = 8 stops) range that reduces time lost on set changing external filters. The ND filters also greatly increase VENICE’s flexibility when being controlled remotely on drones and cranes, or in an underwater housing. Next generation viewfinder The DVF-EL200 was created as the perfect partner for VENICE. A 1920 x 1080 OLED panel enables precise, high-resolution focusing and framing, including False Color Display at the touch of a button. A rotary encoder provides instant access to brightness, peaking and contrast. An all-new ergonomic design allows for tool-free attachment/detachment and reconfiguring within seconds. The industry-standard LEMO connector offers exceptional durability. Engineered to survive VENICE’s chassis is engineered to be amazingly robust and has been rigorously tested in the harshest conditions. Its ventilation system is completely isolated from all electronic components to prevent ingress of dust, sand and splash. The silent-running fan can be cleaned or even swapped out on set quickly and easily. Easily configurable VENICE has a fully modular design and even the sensor block is interchangeable. So, as sensor technology advances in far future, you have the opportunity to upgrade without investing in a new camera. In order to maintain ergonomic balance for operators, the top handle and viewfinder are easily adjustable. As the height of the camera from the bottom to the optical center of the lens mount is the same as the F55, base plates and other accessories used for the F55 can be used with VENICE. The AXS-R7 recorder can be attached to VENICE with just four screws. Additional features of the Venice camera: native PL- and E-mount (Lever lock type) anamorphic aspect ratios of 4:3 and 6:5 at 4K for shooting both 2.4:1 and 2.66:1 widescreen desqeeze function on monitor out for several anamorphic squeeze factors up to 16bit of tonal range when recording in RAW or X-OCN (16-bit eXtended tonal range Original Camera Negative) file formats downsampling from Full Frame Image with 6K resulution to 4K XAVC codec parallel recording of Proxy Files or XAVC on SxS cards while recording 6K (RAW or X-OCN) on AXS cards the Select FPS function lets you choose frame rates from 1 frame per second to as high as 120 fps, depending on imager mode. *Note: higher Framerates than 60fps require the HFR License available from summer 2019 several control tools for checking aperture an focus such as: up to 4.0x Dot-by-Dot magnification of the viewfinder image, Surround View (Look Around), High/Low Key, USER 3D LUTs, ACES compatibility Full menu control via web browser based wired and wireless connection and much more... More information about the Sony VENICE can be found at www.sonycine.com Download Technicolor Look Collection for VENICE here.
IB/E Optics Raptor T2.9 150mm Cine Macro Lens - UMS PL Mount The RAPTOR lenses featuring full frame (24×36) coverage and beyond, 1:1 magnification, T-Stop 2.9 as well as robust and durable professional cine mechanics. Features: Maximum magnification 1:1 No change in length, thanks to internal focusing extended color correction (APO) Aperture T 2.9-T22 Constistent distance from flange to iris- and focusring Front diameter of 95 mm M0.8 gear wheels for focus and iris UMS PL Mount (LPL, Canon EF, Sony NEX E,...) Robust and durable mechanical design Data sheet downloadAPO CINE MACRO LENS FAMILY
IB/E Optics Raptor T2.9 60mm APO Cine Macro VV Lens - UMS PL Mount All RAPTOR lenses featuring full frame (24x36) coverage and beyond, 1:1 magnification, max T-Stop 2.9 as well as robust and durable professional cine mechanics. Features: Maximum magnification 1:1 No change in length, thanks to internal focusing extended color correction (APO) Constistent distance from flange to iris- and focusring Front diameter of 95 mm M0.8 gear wheels for focus and iris UMS PL Mount (LPL, Canon EF, Sony NEX E, …) Robust and durable mechanical design Data sheet downloadAPO CINE MACRO LENS FAMILY
The M full frame lenses have captured unique, iconic images for over than 60 years around the world. To bring the characteristics of these lenses directly to the cinema world, Leitz Cine Wetzlar designed the new M 0.8 lenses. The complete set contains focals of 21mm, 24mm, 28mm, 35mm, 50mm, 50-N, 75mm and 90mm. The M 0.8 lenses interpret light and skin tones with a unique sense of clarity, color and charisma. FEATURES Focal Length: 35 mm Max. Aperture: f/1.4 Format: Full Frame (24mm x 36mm) Mount: Leica M-Mount Front Diameter: 80mm Weight: 380g CAMERA COMPATIBILITY Sony VENICE ARRI Alexa Mini/Amira RED Monstro and more - see comparative table:
The Zeiss Digi Diopter is an advanced optical accessory designed to enhance the close-up capabilities of cinema lenses without compromising on image quality. Engineered for filmmakers, it allows users to capture fine details with remarkable clarity, adding versatility to lens setups and enabling closer focus distances. By attaching the diopter to the front of a lens, cinematographers can achieve beautiful macro shots without switching lenses, making it an ideal tool for nature, product, and portrait cinematography where intricate details matter.This diopter’s optical design delivers superior sharpness across the frame, preserving the original look and feel of the lens. Zeiss has developed the Digi Diopter with its signature anti-reflective coating, minimizing flare and ghosting to produce clean, high-contrast images even in challenging lighting. This is particularly beneficial for high-resolution formats, ensuring detailed footage in 4K, 6K, or 8K productions where visual clarity is crucial.Constructed from durable, lightweight materials, the Zeiss Digi Diopter is a practical addition to any cinematographer’s toolkit, built to withstand demanding shooting conditions. Its user-friendly design allows quick attachment and removal, enabling swift transitions on set. This diopter enhances both functionality and creative possibilities, empowering filmmakers to explore new perspectives with their existing lenses.Features of Zeiss Digi DiopterEnhances close-up capabilities for cinema lensesMaintains edge-to-edge sharpness and image qualityZeiss anti-reflective coating reduces flare and ghostingIdeal for high-resolution formats like 4K, 6K, and 8KAllows filmmakers to capture intricate details and texturesCompatible with various cinema lensesQuick and easy attachment and removalDurable and lightweight design for professional useTechnical SpecificationsOptical Design: High-quality Zeiss optics for minimal distortionCoating: Zeiss T* anti-reflective coatingMagnification Factor: Variable depending on modelCompatibility: Compatible with most cinema lensesMounting Type: Front-mounted with universal fitWeight: Varies by model, typically lightweight for ease of useField Coverage: Full-frame and Super 35 compatibleMaterial: High-grade optical glassDimensions & WeightDiameter: 95 mmThickness: Varies based on modelWeight: Approx. 100 gIncluded in the PackageZeiss Digi DiopterProtective carrying pouchLens clothUser manual
Set of 7 glass filters in densities 0.3 + 0.6 + 0.9 + 1.2 +1.5 + 1.8 + 2.1 Outstanding quality, with scratch protection Size: 5x5.650 inch
Set of 7 filters in densities 0.3 + 0.6 + 0.9 + 1.2 + 1.5 + 1.8 + 2.1 Outstanding quality, with scratch protection Size: 6.6x6.6 inch
The HDx1.4 converts B4 mount video lenses for use with single sensor (S16 or 2K) while slightly correcting the image. The HDx1.4 can be used with the following cameras with only one stop of light loss (1080p): Phantom Flex 4K Sony F5 / F55 2K Sony F700 Blackmagic Pocket
The EZ lens series are supplied with an universal lens mount thread, allowing the lenses to be configured to PL, Sony-E, or Canon EF mounts. All lenses are supplied wir one PL lens mount ring, and additional lens mount rings can be purchased seperately when needed.
The EZ lens series are supplied with an universal lens mount thread, allowing the lenses to be configured to PL, Sony-E, or Canon EF mounts. All lenses are supplied wir one PL lens mount ring, and additional lens mount rings can be purchased seperately when needed.
The EZ lens series are supplied with an universal lens mount thread, allowing the lenses to be configured to PL, Sony-E, or Canon EF or RF mounts. All lenses are supplied wir one PL lens mount ring, and additional lens mount rings can be purchased seperately when needed.
The IB/E PLx 1.4 Mark II has improved optical performance especially at higher T-Stops. It extends the focal length of S35 PL mount lenses by a factor of 1.4, losing only one stop of light. The recommended max. input T-Stop is 1.6. The extender features high-index, low-dispersion glass to ensure the highest possible resolution and contrast with minimal optical degradation. The optical design is optimized for digital cameras with telecentric ray path at the sensor. Compatibility is achieved with a deep-set optical assembly that accepts lenses with deep protruding rear elements. The PLx1.4 Mark II is also designed to mount to any digital cinema camera with a native PL mount. The UMS Mount System makes it easy to change the mount to Canon EF, Sony E, MFT or others without re-shimming.
The IB/E HDx35 Mark III is a high-end optical converter engineered to seamlessly adapt B4 mount 2/3” broadcast lenses for use on modern Super 35 large sensor cameras. Designed for demanding professional workflows, this converter enables cinematographers and broadcasters to continue leveraging high-performance HD ENG and box lenses in contemporary digital cinema environments. At its core, the HDx35 Mark III addresses the fundamental optical mismatch between traditional three-chip prism-based B4 lenses and single-sensor large format cameras. Through precise spectral correction and a highly telecentric optical design, it ensures accurate color reproduction, consistent illumination, and edge-to-edge sharpness across the entire image field. The Mark III generation expands image coverage and compatibility, making it suitable for a wider range of cameras including ARRI Alexa series, RED Epic systems, Sony CineAlta cameras, and more. With a magnification factor of 2.6x, it effectively adapts the image circle while maintaining strong optical integrity even at fast apertures. A key differentiator is IB/E’s Universal Mount System (UMS), allowing flexible adaptation to multiple camera mounts such as PL, EF, E, F, FZ, and Micro Four Thirds. Mount changes can be performed in the field without re-shimming, significantly improving operational efficiency in dynamic production environments. Handcrafted in Germany, the HDx35 Mark III reflects precision engineering and strict quality control standards. Its compact form factor, robust construction, and optimized coatings for flare reduction make it a reliable tool for high-end broadcast, live production, and cinema applications. Features IB/E HDx35 Mark III • Enables use of B4 2/3” broadcast lenses on Super 35 cameras • Designed for HD ENG, DigiPrime and box lenses • Advanced spectral correction for prism-to-single sensor adaptation • Highly telecentric optical design for uniform illumination • Bright and sharp image across the full frame • Excellent color fidelity and contrast performance • 2.6x magnification for proper image circle coverage • Maximum input T-stop of T1.9 • Consistent performance across all aperture settings • Flare-optimized coatings for improved image quality • Universal Mount System for flexible camera compatibility • Field-interchangeable mounts without re-shimming • Compact and lightweight design for easy integration • Precision engineered and handmade in Germany Technical Specifications • Optical design: 5 elements in 2 groups • Magnification: 2.6x • Maximum image diameter: 30.2 mm • Recommended image diameter: 28.6 mm • Maximum input T-stop: T1.9 • Light loss: approx. 2.5 stops • Lens mount: B4 2/3” • Camera mount: PL (UMS system) • Compatible mounts: PL, EF, E, F, FZ, MFT • Telecentric optical design • Spectral correction for 3-chip prism systems • Optimized for single-sensor digital cameras • High contrast and color accuracy • Flare reduction coatings applied • Suitable for HD broadcast lenses • Compatible with ARRI, RED, Sony, Canon, Panasonic systems • Designed for professional cine and broadcast workflows Dimensions and Weight Length (B4 to PL): 61.6 mm Diameter: 65.0 mm Weight: 0.50 kg
The IB/E Optics Universal Mounting System (UMS) allows the reassembly of the IB/E Adapter and Raptors to other mounts besides the PL, expanding their use considerably. Easy change in the field without re-shimming. Compatibility: HDX1.4 HDX2 Mark II HDX35 Mark III PLX1.4 Mark II PLX2 PLx2VV VVx2 UMS S35XFF Raptoren
IB/E PLx2 Extender for a wide range of PL-Mount Lenses IB/E Optics PLx2 Optical Extender - for spherical and anamorphic PL Mount Lenses. The PLx2 optical extender doubles the focal length of 35 mm PL mount lenses. While most extenders can only physically fit on a limited range of lenses, the design of the PLx2 allows it to work with a wider array of PL mount lenses than any other doubler. The PLx2 features high-index, low-dispersion glass to ensure the highest possible resolution and contrast with minimal optical degradation. In magnifying the image twofold, the transmitted light is spread over a larger area, decreasing the brightness by two f-stops. To create an optical design that is optimized for modern lenses and digital cameras, the maximum input T-Stop is 1.9.
The IB/E Optics Universal Mounting System (UMS) allows the reassembly of the IB/E Adapter and Raptors to other mounts besides the PL, expanding their use considerably. Easy change in the field without re-shimming. Compatibility: HDX1.4 HDX2 Mark II HDX35 Mark III PLX1.4 Mark II PLX2 PLX 2 VV VVx2 UMS S35X FF Raptoren
IB/E Velociter x0.8 Optical ConverterThe Velociter x0.8 optical converter reduces the focal length of the RAPTOR macro lenses by 0.8x. At the same time it increases the lens speed by almost 1 stop. For example, the RAPTOR 100 mm T2.9 becomes a 80 mm T2.3. The Velociter x0.8 features high-index, low-dispersion glass as well as multi layer coating to ensure the highest possible resolution and contrast with minimal optical degradation. To create an optical design that is optimized for the RAPTOR macro lens family and digital cameras, the maximum input T-Stop is 2.9. The Velociter x0.8 can easily be assembled in exchange of the extension tube of the PL UMS mount. Note: With the Velociter connected to the lens, only PL cameras can be used. Not Compatible with Raptor 60mm. Technical data Max. image diameter (mm) 36.0 Magnification x0.8 Max. input T-Stop 2.9 Light drop (stops) 1.0 Diameter (mm) 54.0 Length (mm) 31.0 Weight (kg) 0.18
IB/E Optics Rectangular Diopter Drop-In Filter - 0.8dpt Professional optical tools are one of core competencies, and IB/E Optics have taken great lengths to provide cinematographers with a complete set of high quality diopters housed in standard 4 x 5.65" frames that slide quickly and easily into any top-loaded and side-loaded matte box (Arri, Chrosziel, etc.) since the handle can be mounted either on top or sideways. IB/E Optics understand how important time is on the set, and working with tradition round diopters and donuts can be time consuming, and they believe our solution not only saves time on the set, but it also provides Directors of Photography with new creative opportunities. They used expensive, high-end glass to create these thin, rectangular diopters.+0.5 and +0.8 diopters uses single filter slot and +2 diopters uses double filter slots. Features Slide quickly and easily into any top-loaded and side-loaded matte box Handle can be mounted on either top or side High-end glass
IB/E Optics Rectangular Diopter Drop-In Filter - 2.0dpt Professional optical tools are one of core competencies, and IB/E Optics have taken great lengths to provide cinematographers with a complete set of high quality diopters housed in standard 4 x 5.65" frames that slide quickly and easily into any top-loaded and side-loaded matte box (Arri, Chrosziel, etc.) since the handle can be mounted either on top or sideways. IB/E Optics understand how important time is on the set, and working with tradition round diopters and donuts can be time consuming, and they believe our solution not only saves time on the set, but it also provides Directors of Photography with new creative opportunities. They used expensive, high-end glass to create these thin, rectangular diopters.+0.5 and +0.8 diopters uses single filter slot and +2 diopters uses double filter slots. Features Slide quickly and easily into any top-loaded and side-loaded matte box Handle can be mounted on either top or side High-end glass
IB/E Optics Universal Mounting System MFT Mount The IB/E Optics Universal Mounting System (UMS) allows the reassembly of the IB/E Adapter to other mounts besides the PL, expanding their use considerably. Easy change in the field without re-shimming. Compatibility: HDX1.4 HDX2 Mark II HDX35 Mark III PLX1.4 Mark II PLX2 Raptors
The IB/E Optics Universal Mounting System (UMS) allows the reassembly of the IB/E Adapter to other mounts besides the PL, expanding their use considerably. Easy change in the field without re-shimming. Compatibility: HDX1.4 HDX2 Mark II HDX35 Mark III Raptoren
The IB/E Optics VVx2 UMS optical extender doubles the focal length of the RAPTOR macro lenses (*without 60mm Raptor). The VVx2 UMS features high-index, low-dispersion glass as well as multi layer coating to ensure the highest possible resolution and contrast with minimal optical degradation. In magnifying the image twofold, the transmitted light is spread over a larger area, decreasing the brightness by two f-stops. To create an optical design that is optimized for the RAPTOR macro lenses and digital cameras, the maximum input T-Stop is 2.9. The VVx2 UMS is designed to mount to any digital cinema camera with a native PL mount. It will also clear the spinning mirror on any ARRI or Aaton camera. In addition the IB/E UMS Mount System offers the ability to change the mount to Sony E, Canon EF, and others in the field without re-shimming.
The IB/E Optics Universal Mounting System (UMS) allows the reassembly of the IB/E Adapter to other mounts besides the PL, expanding their use considerably. Easy change in the field without re-shimming. Compatibility: HDX1.4 HDX2 Mark II HDX35 Mark III PLX1.4 Mark II PLX x2 PLX2 VV VVx2 UMS S35XFF Raptors
Professional optical tools are one of core competencies, and IB/E Optics have taken great lengths to provide cinematographers with a complete set of high quality diopters housed in standard 4 x 5.65" frames that slide quickly and easily into any top-loaded and side-loaded matte box (Arri, Chrosziel, etc.) since the handle can be mounted either on top or sideways. IB/E Optics understand how important time is on the set, and working with tradition round diopters and donuts can be time consuming, and they believe our solution not only saves time on the set, but it also provides Directors of Photography with new creative opportunities. They used expensive, high-end glass to create these thin, rectangular diopters.+0.5 and +0.8 diopters uses single filter slot and +2 diopters uses double filter slots. The Standard Diopter Set consists of three diopters with magnification strengths of +0.5, +0.8 and +2.0. Features Slide quickly and easily into any top-loaded and side-loaded matte box Handle can be mounted on either top or side High-end glass PDF DOWNLOADSDioper Data Sheet
IB/E Optics Universal Mounting System UMS LPL Mount. The IB/E Optics Universal Mounting System (UMS) allows the reassembly of the IB/E Adapter to other mounts besides the PL, expanding their use considerably. It works with IB/E Raptor lenses and PLx II Vista Vision. Easy change in the field without re-shimming.
The HDx2 Mark II was specifically designed to give cinematographers the ability to use all HD ENG 3D CCD lenses on high speed Phantom cameras and MFT format cameras (22 mm). This converter is best suited for scenarios when our HDx35 Mark III adapter‘s magnification is too strong or when light loss has to be restricted.
IB/E Optics Rectangular Diopter Drop-In Filter - 0.5dpt Professional optical tools are one of core competencies, and IB/E Optics have taken great lengths to provide cinematographers with a complete set of high quality diopters housed in standard 4 x 5.65" frames that slide quickly and easily into any top-loaded and side-loaded matte box (Arri, Chrosziel, etc.) since the handle can be mounted either on top or sideways. IB/E Optics understand how important time is on the set, and working with tradition round diopters and donuts can be time consuming, and they believe our solution not only saves time on the set, but it also provides Directors of Photography with new creative opportunities. They used expensive, high-end glass to create these thin, rectangular diopters. +0.5 and +0.8 diopters uses single filter slot and +2 diopters uses double filter slots. Features Slide quickly and easily into any top-loaded and side-loaded matte box Handle can be mounted on either top or side High-end glass
SET of RAPTOR UMS PL Shims (0,01mm, 0,02mm, 0,03mm, 0,04mm, 0,05mm, 0,08mm 0,10mm, 0,12mm) Included in box 1x 0.01mm shim 1x 0.02mm shim 1x 0.03mm shim 1x 0.04mm shim 1x 0.05mm shim 1x 0.08mm shim 1x 0.10mm shim 1x 0.12mm shim