Superb vintage prime lenses rehoused by TLS are now available for rental at Gulf Camera.
On modern digital cinema cameras the vintage Super Baltars provide a wonderful soft low contrast and warm flare that adds character and richness to the image. Before TLS worked their magic the Super Baltar was a real challenge to use because of the tiny focus markings and very short throw from close to infinity.
The TLS Super Baltar is now as useable as a Cooke S-4 with widely spaced focus marks and clear, well thought out engraving through the entire range from near to far.
The TLS Super Baltar is a wonderful addition to our set of TLS Cooke Speed Panchros which have been very popular.
Our Super Baltar Set:
- 20mm T2.3
- 25mm T2.3
- 35mm T2.3
- 50mm T2.3
- 75mm T2.3
- 100mm T2.3
Gulf Camera adds the new Optimo Anamorphic to our inventory
With 2x squeeze, a fast aperture of T:4 and no ramping or breathing, the Optimo Anamorphic 56-152mm 2S Zoom Lens delivers exceptional optical performance not previously achieved with an anamorphic lens. Based on the optical design of the popular Optimo 28-76mm, the Optimo Anamorphic 56-152mm 2S Zoom Lens features all of the remarkable characteristics shared by the Optimo series, including pristine optics, high precision mechanical zoom system and 320° focus rotation with over 50 focus marks. The unique optical design combines spherical and cylindrical elements in the same group, giving the 56-152mm lens exceptional sharpness and low distortion for an anamorphic zoom. Furthermore, the flexibility of a 2.7x zoom range is perfect for framing without the need to move the camera forward or backwards. The lens is extremely compact, weighing only 4.8lb or 2.2kg. Comes standard with PL mount; however, a PV mount is also available on request.
• Exceptional optical performance
• Designed for high-end film and digital cameras
• Perfect homogeneity of colorimetry, contrast and resolution
• Compact and very light (4.8 lbs- 2.2 kgs)
• Precise, ergonomic focus ring, in feet or meters on request
• Coverage of 4perf.scope+ (28.8mm diagonal)
• The flexibility of a 2.7x zoom range ideal for framing without moving the camera forward or backward
• Available in PL mount (PV mount available upon request)
- Focal Length: 56-152mm
- Zoom Range: 2.7x
- Aperture: f/3.6 – T:4
- MOD: 2’1’’ – 0.63m
- Length: 210mm
- Weight: 4.8 lbs. (2.2kg)
Which lenses will cover “Open Gate” on the Alexa XT?
Super 35 film has an image circle of 28.5mm and the Alexa 16:9 is a little smaller at 27.8mm. Using the “Open Gate” mode on the Alexa XT camera requires an image circle of 33.5mm for complete lens coverage. Many of the lenses in use today will not completely cover this larger sensor size. What lenses will work with Open Gate? I decided to take a look using the Gulf Camera inventory of lenses to find out what will work – and what will not. If you have a favorite lens you would like me to add to the list – by all means get one to me and I’ll add it to the test.
Alexa “Open Gate” produces an image with a 1.55:1 aspect ratio. Apart from visual effects photography the 1.55:1 aspect ratio is too ‘square’ for most modern production. An aspect ratio of 1.78:1 (16X9) is most often seen in television production and 1.85:1, 2:1 or 2.4:1 are commonly used in feature film production. I have selected 1.85:1 as an Open Gate “cropped” aspect ratio as it is very close to 16X9 for television and also is used frequently in feature film.
Lets take a look at some commonly used lenses with An Alexa XT in Open Gate mode. I pointed the XT camera at a very evenly lit wall and recorded a clip of Arriraw at 3414X2198 pixels – the Open Gate size image. I then debayered using the Arri software and snapped a jpeg of each clip. I’ll show you first the full 1.55:1 Open Gate image and then a cropped 1.85:1 version at 3414X1845 pixels. The pictures are shown at a low resolution to keep the file sizes under control. Consider the following a database. . .
I won’t hold it against you if you skim!
First, the zooms:
So. The 17-80 looks more like a 40-80 using Open Gate and the 24-290 is great at 30mm/1.85 but then starts to show more vignette as it gets toward the long end. I think the hand held zooms all look pretty good at 1.85 depending on your tolerance for the fall off in the corners. The mild vignette with some of the lenses will be very hard to see when not pointing at a blank wall.
Now, lets take a look at some primes: Zeiss CP-2, Leica Summilux C, Cooke S4, Cooke S5i, B & L Super Baltars, Arri Master Macro 100, Arri 10mm, Arri 14mm
First, a couple of CP2 lenses. With the big full frame coverage there should be no problem.
Ok, as expected the CP-2 lenses designed for Full Frame sensors work fine in Open Gate – so I’m going to move on to other glass.
The Leica Summilux C lenses are spectacular in all regards so working with them on the Alexa XT in Open Gate would be fantastic. . . if they cover:
How about the much loved Cooke S-4 lenses?
The fast Cooke S5i lenses look good with the Open Gate:
What about some vintage lenses? Lets see how they do. . .
The Arri wide primes are about as expected. . .
Alexa XT Open Gate is no problem for the Arri Master Macro 100mm. . .
Gulf Camera has a beautiful set of classic Super Baltar lenses available for rent.
These vintage lenses are a popular choice for pairing with modern digital cameras in order to produce a softer look. At the wide open T2.3 these lenses will have less contrast and more flare than modern lenses and ‘tighten’ up as they are stopped down. They produce warm rich skin tones with cool flares and are great for beauty, glamour and lifestyle photography.
40mm T2.3 min. focus 3′
50mm T2.3 min. focus 3′
75mm T2.8 min. focus 3′
100mm T 3.4 min focus 5′
Gulf camera is pleased to announce that our Alexa XT+ Camera now has Sup 9.0 installed and the “Open Gate” mode is enabled and is ready for use.
The sensor grade and processing power of the ALEXA XT makes it possible to capture a frame that is considerably larger than the standard 2.8K ARRIRAW format. In Open Gate sensor mode, the active pixel area is 28.17 x 18.13 mm, 3414 x 2198 photo sites, an image circle of 33.5 mm, and an aspect ratio of 1.55:1. This larger area can be helpful for repo, resizing, digital stabilization, rotating, or native 3.4K VFX. The frame includes, and actually extends beyond, the surround view area. We therefore call this mode Open Gate.
ALEXA XT SUP 9.0 makes ALEXA XT cameras ready for the Open Gate sensor mode. To enable this mode, an ALEXA XT camera needs to be upgraded/re-calibrated at an ARRI service center. After the release of Open Gate mode, all new ALEXA XT cameras will ship with Open Gate mode enabled.
Open Gate mode will first be available on the ALEXA XT, ALEXA XT Plus or ALEXA XT Studio. We plan to also enable the mode for the ALEXA XT M later. An ALEXA with the XR upgrade cannot capture the Open Gate format, because its sensor and image processing does not meet the technical requirements.
An Open Gate ARRIRAW frame is approximately 11.30 MB.
At 24 fps, this results in a bit rate of 2.17 Gbit/s and a data rate of 271 MB/s or 976 GB/h.
In addition to Open Gate, Sup 9.0 includes the following upgrades:
Improved ProRes Recording – Higher Speeds
By optimizing the image pipeline, ARRI has increased the maximum frame rate of the highest quality ProRes codec (ProRes 4444) to 120 fps in 16:9 HD mode. The processing horsepower comes from the ALEXA XT/XR cameras and the higher data transfer rates are available on either XR Capture Drives or CFast 2.0 cards. It is now possible to keep shooting ProRes 4444, no matter what the frame rate.
ProRes Pre-Recording – Capture the Unpredictable
Based on requests from nature documentary cinematographers, ARRI is introducing ProRes pre-recording. When pre-record is enabled and the REC button is pushed for the first time, the camera will continuously capture images, audio and metadata into a temporary ring buffer – a section of memory on the actual recording medium. When the REC button is pushed a second time, the camera will keep everything that is stored in the buffer and continue to record from there. It is thus possible to capture an event that occurred before the REC button is pushed for the second time, like the leap of a tiger or the sudden flight of an owl. The ring buffer can be set to short, medium or long, though the pre-record duration also depends on the chosen ProRes codec, aspect ratio, recording resolution and frame rate. As an example, the buffer times for ProRes 4444 16:9 HD at 24 fps at the short, medium and long settings are 4, 13 and 21 seconds.
Better DNxHD Recording – 444 and ALEXA XT/XR Support
DNxHD will be available in 444 for all cameras with a DNxHD license. Developed in close collaboration with Avid, DNxHD 444 delivers stunning master quality images for those who want to stay native in the Avid world.
More and Safer Metadata – Self-Healing and LDS Includes Cooke /i ALEXA continuously closes and re-opens the files it records, so if a memory card is accidentally removed during recording, or power is lost, the files remain intact and uncorrupted. Although the incomplete metadata files would still be readable, the camera would refuse this media for further recording. From SUP 9.0 on, ALEXA will feature self-healing metadata – the ability to detect an incomplete metadata file, compare it with the recorded frames and reconstruct it, allowing the media to be used again.
Support for the Cooke /i protocol as part of the ARRI Lens Data System (LDS), already present in ALEXA XT/XR cameras, will now be extended to ALEXA Classic cameras with a PL-LDS mount. Being able to recognize the ARRI LDS, as well as the Cooke /i system, allows ALEXA to read and record lens metadata from all lenses with built-in encoders for more efficient working on the set and speedier VFX in post.
New Operating Options – WCU-4 and Improved Usability
The Wireless Compact Unit WCU-4 now offers an even tighter integration with ALEXA cameras, including proper display of pre-recording status, the ability to switch from regular speed to high speed, and a software switch for lens motor direction. A number of user interface improvements previously released in SUP 8.1 for ALEXA XT/XR cameras have now been added for ALEXA Classic cameras: ‘Audio disabled’ will be indicated in the EVF and MON OUT status display, as will ‘ND filter on/off’ (ALEXA Studio cameras). By popular demand, there is also a new frame line option for a smaller center dot.
New LDS Functions – Greater Flexibility
With the availability of the new 2x and 1.4x Alura Extenders, ALEXAs with a PL-LDS mount will recognize that such an extender has been installed on an LDS lens, or on a non-LDS lens used with the Lens Data Archive. The camera will record the properly re-calculated lens metadata values and show them on all numeric displays, although they cannot be shown on graphical displays or on the LDD-FP. For greater flexibility, it is now possible to choose the source of the lens data – either the encoders built into LDS lenses or CLM motor encoders with a Lens Data Archive table that can be customized to the user’s specific demands.
The Alexa XT Plus camera is now available at Gulf Camera.
- Faster, lighter and more affordable ARRIRAW
- In-camera ARRIRAW up to 120 fps onto XR Capture Drives
- Fast, rugged and reliable 512 GB XR Capture Drives
- Proven, efficient and flexible Codex ARRIRAW workflow
- Faster and longer ProRes/DNxHD in-camera recording
- ProRes or DNxHD up to 120 fps onto XR Capture Drives
- 107 minutes of ProRes 4444 at 24 fps
- In-camera ProRes or DNxHD up to 60 fps onto SxS PRO cards with SxS Adapter
- Proven, efficient and flexible ProRes/DNxHD workflow
- High quality internal full spectrum ND filters
- Internal Filter Module IFM-1 reduces weight, reflections and hassle
- Neutral color balance at all densities through full spectrum (FS) ND coating
- High contrast through anti-reflective multi-coating
- High image sharpness through precision polishing
- ALEXA XT cameras have IFM-1 filter holder pre-installed
- Filters available separately in 8 densities from ND 0.3 to ND 2.4
- True anamorphic with a 4:3 Sensor
- 4:3 on all ALEXA XT models
- Anamorphic de-squeeze license included
- Greater reframing options for spherical shoots
- High speed license included
- More efficient VFX through lens metadata
- LDS PL Mount on all ALEXA XT models
- Viewfinder Mounting Bracket VMB-3
- Greater operating comfort and flexibility
- Strong and rigid construction
- Special hard, low friction anodizing on all moving parts
- 15 mm lightweight rods hold viewfinder mount
- Rods can take lens motors, matte boxes, follow focus etc.
- Built-in bubble level
- Optional new, stronger Viewfinder Extension Bracket VEB-3
- VEB-3 fold-out arm holds viewfinder when moving camera
- Super silent ALEXA XT fan
Master Macro 100 available now
For those who want the ultimate in image quality for table top cinematography, product shots, close-up inserts on feature films or any other applications that require a macro lens, the Master Macro 100 delivers images of breathtaking beauty.
Designed for the ANSI Super 35 image format, the Master Macro 100 can be used on any PL mount 35 mm film and single sensor digital camera.
With a 1:1 magnification ratio, a maximum aperture of T2.0 and an optical design developed specifically for macro work, the Master Macro delivers phenomenally sharp and contrasty images with vibrant colors for extreme close-ups of the highest visual quality.The use of aspherical lens surfaces and exotic glass types with anomalous partial dispersion, like fluor crown and barium dense flint, greatly reduces chromatic aberration (color fringes). Modern optical design techniques ensure the optimal light path for reduced stray light and mini- mized geometric distortion, another feature the Master Macro 100 shares with the Master Primes.
The front element of the Master Macro is set back within the lens housing, which protects it from the reflected light that can so often be a problem when lighting sub- jects positioned close to the front of a lens. In effect, the forward section of the lens acts as a shade, absorbing any stray light.
This, in combination with the T* XP anti-reflection coating, strategically painted lens rims and special light traps, means that cinematographers may spend far less time worrying about unwanted light on the image than with any other macro lens. It also means that the Master Macro 100 exhibits unsurpassed contrast, low veiling glare and rich, vibrant colors.