Lens rental — Fujinon GF, Sony, Canon and Zeiss cine
The Fujinon GF line is close to complete; Sony and Canon cover full frame; the cine set is a short one. Glass for the GFX bodies, for E and RF mount, and Supreme Prime in PL at 21, 40 and 85 mm — with the adapters to move between them.
Fujinon GF — for the GFX bodies
GF · 16–28 mm equiv.
Fujinon GF 20-35mm f/4
The wide-angle zoom for the GFX system, genuinely wide on a sensor this size — and compact enough to stay on the camera on location.
GF · standard zoom
Fujinon GF 45-100mm f/4
The working zoom of the GF line. Covers most of a fashion day without changing glass, with OIS for handheld.
GF · f/1.7
Fujinon GF 80mm f/1.7
The fast large-format portrait lens. The reason several beauty productions bring the GFX rather than a full frame body. The 55 mm f/1.7 sits beside it.
Also in the GF line: the 32–64 and 100–200 zooms, primes at 30, 63 and 120 mm — the 120 is the macro — and the MCEX extension tubes.
Sony and Canon full frame
E · f/2.8
Sony FE 24-70mm f/2.8 GM II
The standard zoom that stays on the camera for most of a shooting day, and notably lighter than the first generation.
E · f/2.8
Sony FE 70-200mm f/2.8 GM II
The telephoto, around 1,045 g — roughly 30 % lighter than the previous version, which changes what is realistic on a gimbal.
RF · f/2.8
Canon RF 24-70mm f/2.8L IS USM
The zoom that covers most of a shoot when the schedule does not allow prime changes. RF 70–200 and the EF line sit alongside.
We are straight about the size of this one: the cine set is a compact one — a wide, a normal and a portrait length in Supreme Prime, not a full range. It covers a shoot that needs the Supreme rendering without a full cine package, and the lenses go out on their own if the production arrives with its own bodies. If you need the whole range, tell us early and we will say honestly whether we can serve it, or help find the rest.
The PL set
PL · full frame
Zeiss Supreme Prime 21 mm
The wide. Full frame coverage, consistent colour and contrast with the other two, and the same front diameter for matte box and filter work.
PL · full frame
Zeiss Supreme Prime 40 mm
The normal. The lens that stays on the camera when a production shoots dialogue and needs one length to carry the scene.
PL · full frame
Zeiss Supreme Prime 85 mm
The long. Skin rendering and fall-off that hold up next to medium format stills on the same job.
Matte boxes
Tilta T12 4×5.65 carbon, SmallRig mini matte box with 67 to 95 mm rings.
Filters
NiSi True Color CPL and variable ND, black mist sets in 4×5.65 and 82 mm, Tiffen ProMist and Glimmer.
Follow focus
Tilta Nucleus-M with two motors, for remote focus on the PL set.
Adapters
Metabones PL to Sony E, Canon RF–EF, Nikon FTZ II.