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 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.
Bright Tangerine LeftField 3 KASBAH Shoulder Pad + 15mm LWS/19mm Handle KitDesigned for all day comfort, the KASBAH System provides a versatile support when operating on the shoulder or handheld. Designed for the LeftField 15mm Universal Baseplate and ARRI standard dovetails for fast & secure transitions between tripod & shoulder operating. This kit consists of the shoulder pad, 15mm bracket, riser, 15mm LWS/19mm Studio bridge, two sets of shoulder connectors, hand grip arms and hand grips.
Variable density zones using KASBAH for optimal cushioning & pressure relief
Open structure for air flow & allows for heat dissipation & evaporation of sweat
Hand grip system for 15mm LWS & 19mm Studio configurations
Upper flange encourages a relaxed grip and reduces tension
3/8″ Anti-twist & 1/4″ threads on Grip Arm for mounting accessories
Milled rosettes offers positive engagement using ARRI standard for maximum compatibility
Symmetrical design allows for use on left or right sides
Glove-friendly knob for easy adjustments in fast paced settings
Precision cut from high-grade aluminium & stainless steel
The hand grip supports can be articulated into a wide range of positions to create various handheld looks and is configurable for 15mm LWS & 19mm Studio setups.Next Level Comfort & AirflowThe shoulder pad & hand grip have been created using Digital Light Synthesis (DLS), a process pioneered by Carbon that uses oxygen-permeable optics & programmable liquid resins to form a unique matrix structure with an infinite number of density zones. The open structure allows air to naturally flow through, evaporating sweat to keep the operator cool. Made for long days on set, operators will experience a new level of comfort & freedom to move. Extremely durable & sturdy, capable of being used in any extreme conditions, the pad is easy to clean with water and UV resistant The included mounting bracket allows the pad to connect to the rear of the LeftField 3 15mm LWS baseplate, with the riser providing clearance when using an ARRI standard balance plate.Tripod to Handheld in SecondsThe riser features a guided track to align the baseplate with an end stop that provides tactile feedback to the operator that the baseplate is on the riser. The safety wedge prevents the baseplate from sliding off accidentally. Unlike VCT systems, the KASBAH System works on any ARRI standard dovetail removing any flex or play due to tolerances between the wedge & receiver plates. Going back to handheld operation is as simple as opening up the lever and lifting off the camera. Alternatively, the LeftField 3 baseplate or any other baseplate with an ARRI dovetail clamp can dock on top of the shoulder pad, making it compatible with third party manufacturers.Battery Plates & CounterbalanceAttaching the rear 15mm bracket extends the mounting options even further. Supporting battery plates and other accessories which also serves as counter balance for larger camera builds. The arms feature 3x 3/8″ anti-twist & 5x 1/4″ threaded points which can be used to mount articulating arms for monitors & other accessories.Precision Milled, Not StampedEach rosette has been CNC precision cut from high-grade stainless steel. Compared to stamped rosettes, ours offer higher engagement & maximum compatibility that won’t slip.LeftField 3 SystemCustomise your camera build with the extensive selection of accessories in the LeftField system. Letting you create the right setup for each and every task.This kit has been updated to LeftField 3 and is not compatible with LeftField 2 accessories. Weight: 1,150 kgDimensions: 25 × 10 × 7 cm
Bright Tangerine LeftField 3 Sony FX6 – Expert KitTake your Sony FX6 to the next level with the LeftField 3 Sony FX6 – Expert Kit. It provides everything you need to rig the camera for different configurations, allowing you to move between setups quickly and easily. Whether you’re shooting documentaries, corporate videos, or anything in between, the Sony FX6 Expert Kit will help you get the most out of your camera.
Mini Axl for FX6 monitor with drag adjustment & sag-free support
Articulating NATO rail adds extra reach & height placement for monitor
Rigid top plate with 1/4”, 3/8”, NATO & QD sockets
Helicoil reinforced threads to prevent stripping and loosening over time
Patented Open•UP baseplate lets you easily lift off the camera from the dovetail
Sets the camera to 15mm LWS standards with support for rods & accessories
With the Sony FX6 – Expert Kit, you can take your Sony FX6 to new heights with everything needed for any situation.Ready for RiggingRig up accessories to the rigid top plate with options for NATO, 1/4″& 3/8″ mounted accessories. Two Quick Detach (QD) sockets are also ready for attaching a carrying strap or tethers.15mm LWS PlatformThe LeftField 15mm LWS baseplate is perfect for fast transitions on set, using the patented Open•Up system. With two industry-standard 15mm rod mounts to support other camera accessories like a matte box or focus motors.Flexible Monitor MountThe Mini Axl is a versatile bracket that replaces your stock monitor mount on the FX6. The screen can be adjusted on the fly to any angle or locked into place. When you're operating handheld with the Sony FX9 loupe, the Mini Axl will keep it from sagging from the weight. When it's time to change locations, simply stow away the monitor, keeping the screen protected. The included cable hook also helps with cable management and snags.Sony FX6 SystemThe included filler piece adds an additional central NATO rail for handles and gimbal plates, as well a support brace to completely remove all physical stress from the stock handle.Each Expert kit comes with the Top Plate, Filler Piece, Top Handle Brace, Mini Axl (Sony FX6), LeftField 3 15mm LWS Baseplate & a set of 15mm Drumstix (12"/30.4cm)You can expand the kit further with options for lens adaptor supports when using PL lenses, KASBAH Shoulder support & more.LeftField 3Customise your camera build with the extensive selection of accessories in the LeftField system. Letting you create the right setup for each and every task.This kit has been updated to LeftField 3 and is not compatible with LeftField 2 accessories.No CompromisesMachined and hand-finished in our single factory in Church Crookham from high-grade materials. Hard anodised for extended durability. The Advanced Kit comes with our famous Bright Tangerine Support and the addition of a 5-year warranty.
Bright Tangerine Mini Axl (Sony FX6)
The Mini Axl kit (Sony FX6) contains everything you need to replace the original mount for your Sony FX6 monitor, adding flexible positioning, drag adjustment and sag-free support for the FX9 Loupe. This kit includes the Folding NATO Rail, Monitor Holder, 15mm Rod Mount & the NATO Rotating Bar & cable hook.
Adds an articulating NATO rail onto the Sony FX6 Top Handle
Flexible monitor positioning with drag adjustment
Replaces the original Sony FX6 monitor bracket
Supports the weight of the FX9 Loupe and maintains horizon level
Monitor can be folded & stowed away for transport
This kit comes complete with everything you need to use your Sony FX6 monitor with the Mini Axl. It is designed to be compact while adding flexibility in how you want to position the monitor. The NATO rail can be attached to the front or rear Sony 8T point on the handle.VERSATILE MONITOR MOUNTThe extension rail mounts to the 15mm rod clamp, allowing it to pivot 360-degrees. The arm can then be rotated for extra height or reach, and can be folded flat when not in use. The removable orange threaded cap prevents the rail from falling out, while a removable stud provides a safety stop for attached accessories.ADJUST ON THE FLYYou can adjust the amount of drag on the tilt-axis by using the locking screw, capable of supporting the weight of the FX9 loupe.The monitor holder is custom matched to the FX6 monitor, with a 3/8” thread for attaching to the included 15mm rod mount or other accessories, and the included cable hook prevents snags.When transporting the camera, the monitor can be folded into the stowed position.CABLE HOOK INSTALLATIONTo install the cable hook, you will require a small Philips screwdriver. First, remove the original cover by undoing the screw on the side. Place the cable hook onto the monitor and secure with the longer M2 screw provided.NO COMPROMISESMachined and hand-finished in our single factory in Church Crookham from high-grade materials. Hard anodised for extended durability.Weight: 0,150 kgDimensions: 14 × 10 × 4 cm
Bright Tangerine Sony FX6 CheeseplateCreate a clean build using a NATO based Cheeseplate on your Sony FX6 to mount your wireless transmitters, audio equipment, cables & more.
Multiple 3/8″ & 1/4″ threads for mounting accessories
Integrated NATO clamp for fast set up & removal
Added cable management with wide slots for bongo ties
Plate can be configured in portrait or landscape orientation
Lightweight & low profile
Keep your camera build clean & simple with the Sony FX6 Cheeseplate. Using the integrated NATO clamp, mount it to the top rail on the top plate to speed up your build time on set.Portrait or Landscape OrientationsThe NATO clamp attaches to the cheeseplate using a 3/8″ Anti-Twist mount. The cheeseplate can be mounted using any of the outer mounting points as required in either landscape or portrait orientation.Easy Accessory MountingWith multiple anti-twist 3/8″ & 1/4″ mounting points, you can attach any type of accessory you like from wireless video transmitters, audio receivers, FIZ controllers & more.The NATO clamp is secured in place using a 4mm Hex key.Extra care comes standardMachined and hand-finished in our single factory in Church Crookham from high-grade materials. Hard anodised for extended durability. Every Cheeseplate comes with our famous Bright Tangerine Support and the addition of a 5-year warranty.
Bright Tangerine Sony FX6 Portrait Adapter 15mm LWS SpacerSet up your Sony FX6 with the correct spacing for 15mm LWS accessories when filming in vertical orientation.It combines with the Portrait Plate Adaptor and LeftField Sony FX6 Baseplate.
Sets camera to correct height for 15mm LWS accessories
Combines with LeftField Sony FX6 15mm LWS Baseplate and Sony FX6 Portrait Adapter Plate (B4004.1016)
Securely interlocks with riser, eliminating any play or movement
Includes captive ¼” & 3/8” mounting screws
Set up your Sony FX6 with the correct spacing for 15mm LWS accessories like a matte box, lens supports and more when filming in vertical orientation.15mm LWS SpacingThe spacer interlocks with the Sony FX6 riser, eliminating any play or movement in the plate. The two captive screws are used to secure the Sony FX6 in portrait orientation using the portrait plate adapter.British WorkmanshipMachined and hand-finished in our single factory in Church Crookham from high-grade materials. Hard anodised for extended durability. The Sony FX6 Portrait Adapter 15mm LWS Spacer comes with our famous Bright Tangerine Support and the addition of a 5 year warranty.Weight: 0,130 kgDimensions: 3,3 × 8,8 × 1,5 cm
Bright Tangerine Sony FX6 Portrait Adapter PlateEasily rig up your Sony FX6 for vertical filming with the Portrait Adapter Plate.It also adds an extra layer of convenience as a cheeseplate for mounting accessories like wireless video transmitters and more.
Right side cheeseplate for your Sony FX6 for secure mounting in vertical orientation.
Connects to the Sony FX6 Top Plate Mk II & handgrip mount
Provides ¼”, 3/8”, QD socket & ARRI rosette for accessory mounting with helicoiled threads for dovetails & quick release plates.
Compatible with B4004.1019 spacer for proper 15mm LWS height
Easily rig up your Sony FX6 for vertical filming with the Portrait Adapter Plate. It also adds an extra layer of convenience with its double function as a cheeseplate for mounting accessories like wireless video transmitters and more.Accessory MountingThe plate provides a number of threaded ¼” & 3/8” holes on the side and top for mounting accessories. It also features an ARRI standard rosette for hand grips.Two helicoil reinforced threads provide a balanced point for mounting dovetails & quick release plates.Gimbal CompatibleWhen working with gimbals, combine it with the LeftField risers and dovetails for the DJI Ronin 2, RS 3 or Freefly Movi for a seamless quick release system, letting you switch between platforms in seconds.InstallationThe Portrait Adapter Plate attaches to the Sony FX6 Top Plate Mk II (B4004.1018) and is secured to the side using the hand grip mount. This creates a robust connection, keeping the camera secure and steady. The plate is also compatible with Sony FX6 Top Plate Mk I (B4004.1005).15mm LWS SpacingTo achieve proper 15mm LWS height spacing when in portrait mode, combine with the 15mm LWS Spacer (B4004.1019).British WorkmanshipMachined and hand-finished in our single factory in Church Crookham from high-grade materials. Hard anodised for extended durability. The Sony FX6 Portrait Adapter Plate comes with our famous Bright Tangerine Support and the addition of a 2 year warranty.Weight: 0,197 kgDimensions: 13,5 × 8,5 × 4 cm
The Canon Mount Adapter PL-RF is an essential accessory for filmmakers and photographers seeking to expand their creative possibilities. This innovative adapter allows users to attach PL-mount lenses to Canon’s RF-mount cameras, facilitating the use of high-quality cinema lenses in a compact and versatile setup. Designed for optimal performance, the PL-RF ensures excellent image quality, maintaining the integrity of the lens’s optical characteristics.
With robust construction, the adapter is built to withstand the rigors of professional use while providing a seamless interface for quick lens changes. The user-friendly design allows for easy mounting and dismounting, ensuring that creators can focus on capturing stunning visuals without technical hindrances. Whether shooting in a studio or on location, the Canon Mount Adapter PL-RF enhances the versatility of RF-mount cameras, making it a vital tool for any serious filmmaker.
Features
Compatible with PL-mount lenses
Seamless integration with Canon RF-mount cameras
Robust and durable construction
User-friendly design for quick lens changes
Maintains optical performance and image quality
Compact and lightweight for easy portability
Ideal for both studio and on-location shooting
Supports electronic communication between lens and camera
Technical Specifications
Mount Type: PL mount to RF mount
Construction: Metal and high-quality plastics
Compatibility: Canon RF-mount cameras
Lens Support: Supports full-frame and APS-C lenses
Communication: Electronic contacts for lens communication
Focus Type: Manual focus only
Dimensions, Weights
Dimensions: 75 x 70 x 25 mm
Weight: 300 g
Included Items
Canon Mount Adapter PL-RF
User manual
Warranty card
The Flowcine xMOUNT is a highly versatile, professional-grade accessory designed to securely mount your camera or gimbal system on vehicles, dollies, or rigs. This innovative mounting solution is built for filmmakers who demand stability, flexibility, and ease of use during dynamic shooting environments. Whether you're filming high-speed car chases or need precise camera positioning on complex setups, the xMOUNT ensures your gear remains stable and safe even under challenging conditions.Made from durable materials, the Flowcine xMOUNT features a robust suction cup system that provides exceptional grip on smooth surfaces like cars, windows, or any glass structure. It is specifically engineered to reduce vibrations and deliver smooth, stable footage, regardless of the terrain. With adjustable mounting arms, the xMOUNT allows for multiple configurations, giving filmmakers the creative freedom to achieve any angle or camera position without compromising safety or stability.With the Flowcine xMOUNT, filmmakers have a reliable, professional solution that can withstand the rigors of demanding shoots. It is compatible with various gimbal systems and cameras, making it an indispensable tool for both independent and professional filmmakers seeking enhanced control over their camera setup.Features Flowcine xMOUNTVersatile mounting system for vehicles, dollies, and rigsStrong suction cup with superior grip on smooth surfacesReduces vibrations for stable footage in dynamic environmentsAdjustable mounting arms for customizable configurationsCompatible with a variety of gimbals and camera systemsBuilt with high-quality, durable materials for professional useSimple installation process for fast setups on setIdeal for high-speed or complex camera movementsTechnical SpecificationsMaximum load capacity: 15 kgAdjustable mounting angles: 360 degreesSuction cup diameter: 15 cmMaterial: High-grade aluminum and stainless steelVibration damping technology for stable footageCompatible with most camera and gimbal systemsQuick-release mechanism for easy camera detachmentDimensions and WeightWeight: 2.5 kgDimensions: 40 cm x 25 cm x 20 cmPackage Contents1x Flowcine xMOUNT2x Adjustable mounting arms1x Suction cup system1x Quick-release mechanism1x Instruction manual
Freelensing Cine® is a system that leaves the lens virtually suspended in front of the camera sensor allowing the operator a fast and intuitive movement. It allows for shifts, parallel and perpendicular to the focal plane, rotation of the optical center, and a combination of both pan and tilt movements. It allows to control the focal planes and to choose where to have them in the frame, both to increase the depth of field or to minimize it. Currently works with ARRI Alexa Mini, Mini LF, 35, Sony Venice 1 & 2, RED V-Raptor XL, V-Raptor and DSMC2, although each camera has its own characteristics.
MARRIAGE BETWEEN CAMERA and FREELENSING CINE®
Choose the appropriate camera mount (ARRI ALEXA MINI, MINI LF, 35, SONY VENICE 1 & 2, RED V-RAPTOR XL, V-RAPTOR & RED DSMC2)
Fix the corresponding camera mount to the bellows
Prepare de camera at the standard 19mm height
Remove the PL or LPL mount that is placed on the camera body
Insert the camera into the Freelensing Cine® or the other way around
Align the Freelensing Cine® to the sensor of the camera
Place the camera mount (already installed in the bellows of the Freelensing Cine®
Set all Freelensing Cine® settings to “0” (except Z-axis)
Finish adjusting
Fix all camera peripherals (rods, etc)
WHAT MOVEMENTS DOES FREELENSING CINE® OFFER?
Y-Axis Shift Offset
X-Axis Shift Offset
Y-Axis Rotation (Tilt-Y)
X-Axis Rotation (Swing-X)
Z-Axis Shift Offset “Collimation”
Combination of all the movements
OPERATING MANUAL FREELENSING CINE®https://www.bandpro.de/media/pdf/61/c3/ba/V-03-OPERATING-MANUAL-FREELENSING-CINE.pdf
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
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 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.
The HDx35 Mark III is the standard converter for high performance HD ENG 3D CCD lenses, such as TV box lenses, Digiprimes and other B4 mount 2/3'' HD broadcast lenses.This optical converter magnifies for all S35 sensor cameras.
Max. Input T-Stop: 1.9
Focal Length Extension: 2.6x
Max. Image Diameter: 30.2mm
The LPLx2 VV optical expander doubles the focal length of Vista Vision Format LPL mount lenses. It’s compact optical and mechanical design makes it compatible with a wide range of lenses. High-index, low-dispersion glass ensures the highest possible resolution and contrast with minimal optical degradation.
The expander transmits light over 4 times the area with a decrease in brightness by two f-stops. Recommended maximum input T-Stop is 1.9. The LPLx2 VV mounts directly to native LPL mount lenses and LPL cameras.
Technical Data
Max. Image Diameter (mm): 46.4
Magnification: x2
Max. Input T-Stop: 1.9
Light Drop (Stops): 2.0
Lens Mount: LPL Standard
Camera Mount: LPL Standard
Diameter (mm): 87.0
Length (mm) LPL to LPL: 34.8
Weight (kg): 0.5Download Data Sheet
IB/E Optics PL-LPL Mechanical AdapterThe PL - LPL Mechanical Adapter connects native PL mount lenses to LPL mount systems, namely, the ARRI LF Camera.The IB/E Optics PL-LPL Mechanical Adapter is a high-quality mechanical adapter designed for use in professional motion picture and television production. It allows you to use PL mount lenses on cameras or other equipment that have an LPL mount.
The adapter is made from aircraft-grade aluminum that is precision machined to tight tolerances, ensuring a perfect fit between the lens and camera mount. The adapter is also hard anodized for added durability, making it resistant to wear and tear in demanding on-set environments.
The positive lock mechanism built into the adapter provides a secure connection between the lens and the camera, preventing any unwanted movement or play. The adapter also features an engraved scale that allows you to accurately align the lens to the camera mount, ensuring that the lens is centered and parallel to the sensor.
The IB/E Optics PL-LPL Mechanical Adapter is also designed to be lightweight and compact, making it easy to use on set or on location. It is also designed to be easy to install and remove, allowing you to quickly switch between lenses. This can be especially beneficial when working on a fast-paced production where time is of the essence. The adapter is compatible with a wide range of PL mount lenses and LPL mount cameras, including popular models from Arri, RED and other manufacturers. It is also compatible with a wide range of third-party accessories, such as follow focus units and matte boxes, allowing you to use it with your existing equipment.
It's worth noting that the IB/E Optics PL-LPL Mechanical Adapter is a mechanical adapter and it does not change the optics of the lens or affect the image quality in any way. It simply enables you to use PL mount lenses on cameras or other equipment that have an LPL mount.
Key Features
Adapts Any PL-Mount Lens to LPL Mount
Compatible with ALEXA LF Camera
Bayonet Attaches without Tools
Included in box
1x PL-LPL Mechanical Adapter
Available from October 2024
The PLx1.3VV-E optical expander increases the focal length and the projected image diameter of the lens by a factor of 1.3x. Then, it allows the use of the lens on large sensor cameras up to 47 mm. The electronic metadata pass-through has been introduced to bring the lens information to the recorded takes.
This expander features high-index, low-dispersion glass to ensure the highest possible resolution and contrast with minimal optical degradation. The PLx1.3VV-E is characterized by a robust and durable mechanical design with stainless steel PL mounts and anodized aluminium. Inside, it carries flair minimized surfaces to keep the original lens character.
The PLx1.3VV-E expander is designed to use most of the S35 PL lenses on almost all the digital cameras with a native PL mount. It is not compatible with mirror cameras, nor the UMS system.
Features
Electronic pass-through for lens metadata
47mm image diameter (VistaVision)
High-index, low-dispersion glass
Robust Mechanical Design
Extended Color Correction (APO)
Small & lightweight
Technical Data
Max. Image Diameter: (mm) 47 mm / 1.85''
Magnification: 1.3x
Electronic Data: Pass-through
Light Drop: 0.75 stop
Camera Mount: PL
Lens Mount: PL
Max. Input: T-Stop 2.0
Weight: 0,5 kg / 1.1 lbsData Sheet Download
Format PL mount lenses by a factor of 1.4x. It allows the use on large cameras up to 47 mm sensor diameter and supports a maximum aperture of T-Stop 2.0.
The PLx1.4VV is characterized by a robust and durable mechanical design with stainless steel PL mounts and anodized aluminum as well as a decorative surface outside and flair minimized surfaces inside. It features high-index, low-dispersion glass to ensure the highest possible resolution and contrast with minimal optical degradation. The adapter is designed to mount to most digital cameras with a native PL mount.
The UMS system is not usable with this expander.
The PLx1.4VV is incompatible with mirror cameras but can be used with most of the S35 PL lenses.
Technical Data
Max. Image Diameter (mm): 47
Magnification: 1.4
Max. Input T-Stop: 2.0
Light Drop (Stops): 1.0
Lens Mount: PL Standard
Camera Mount: PL Mount
Diameter (mm): 77.0
Length (mm) PL to PL: 16.4
Weight (kg): 0.5Download Data Sheet
The PLx1.6VV increases the focal length by a factor of 1.66x and allows the use of S35 lenses on large-format cameras up to 46.5 mm sensor diameter and supports a max. aperture of T-Stop 2.0.
The PLx1.6VV is characterized by a robust and durable mechanical design with stainless steel PL mounts and anodized aluminium as well as decorative surface outside and flair minimized surfaces inside. The PLx1.6VV is incompatible with mirror cameras but can be used with most S35 PL lenses.
Technical Data
Max. image diameter (mm): 46.5
Focal length extension: 1.66x
Max. input T-Stop: 2.0
Light drop (stops): 1.46
Lens Mount: PL Standard
Camera Mount: PL UMS Mount*
Diameter (mm): 77.0
Length (mm) PL to PL: 22.9
Weight (kg): 0.3
*without F and MFT Mount. UMS E without cover ringDownload Data Sheet
The PLx2VV optical expander doubles the focal length of Vista Vision Format PL mount lenses. The extender is the sequel to our successful PLx2 adapter. Thanks to its compact optical and mechanical design, the PLx2 VV is compatible with a wide range of lenses.
The PLx2VV features high-index, low-dispersion glass to ensure the highest possible resolution and contrast with minimal optical degradation. In doubling the image size, the transmitted light is spread over 4 times the 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 PLx2VV is 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 or others without re-shimming.
Technical Data
Max. Image Diameter (mm): 46.4
Magnification: x2
Max. Input T-Stop: 1.9
Light Drop (Stops): 2.0
Lens Mount: PL Standard
Camera Mount: PL UMS Mount*
Diameter (mm): 78.0
Length (mm) PL to PL: 34.8
Weight (kg): 0.5
** without F and MFT Mount and E Mount with assembled inner ring*Download Data Sheet
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
Data sheet download
IB/E Velociter x0.8 Optical Converter
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