Blackmagic Ursa Cine 17K Lens Testing - ARRI Signature Prime
We had the pleasure of testing the @blackmagicnewsofficial Blackmagic Ursa Cine 17k - 65mm sensor camera on a huge range of our available lenses.
With the camera native sensor aspect ration being 2.2:1, we conducted the testing using the aspect ratio’s of 2:1 and 16:9 frame guides as our benchmark for usable coverage.
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Something modern this week with the @arriaustralia ARRI Signature Primes, while these lenses were design to be optimal coverage for the Open Gate sensor of the Mini LF, we found to coverage on the 17K sensor to be very good.
If a 16:9 ratio is your target deliverable, the ARRI Signature Primes would be beautiful, modern choice with complete coverage on each focal length. Some corner vignetting is present in a 2:1 ratio, but for those creative enough to imagine, a 2.39:1 crop of the 2:1 ratio mode, this would also be an excellent choice, delivering a extra wide image from these exceptional lenses.
#mediumformat #filmmaking #blackmagicursacine17K #arrsignatureprime
#signatureprime
Nov 6
Blackmagic Ursa Cine 17K Lens Testing - TLS Vega
We had the pleasure of testing the @blackmagicnewsofficial Blackmagic Ursa Cine 17k - 65mm sensor camera on a huge range of our available lenses.
With the camera native sensor aspect ration being 2.2:1, we conducted the testing using the aspect ratio’s of 2:1 and 16:9 frame guides as our benchmark for usable coverage.
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Another @truelensservices TLS feature this week with the TLS original Vega lenses. Starting life as Nikkor primes, TLS have tweaked the donor lenses to become the Vega Primes.
TLS alway told us these lenses would cover a very large image circle, and we were excited to see this for ourselves. Starting at 20mm, the coverage excellent in the 2:1 and 16:9 aspect ratios, with only slight corner vignettes on the open gate mode and from 25mm and up, they cover the sensor completely. We are proud to be the only Australian supplier for the TLS Vega lenses!
#mediumformat #filmmaking #blackmagicursacine17K #tlsvega #nikkor
Oct 29
Blackmagic Ursa Cine 17K Lens Testing - TLS Zeiss Contax AE Custom
We had the pleasure of testing the @blackmagicnewsofficial Blackmagic Ursa Cine 17k - 65mm sensor camera on a huge range of our available lenses.
With the camera native sensor aspect ration being 2.2:1, we conducted the testing using the aspect ratio’s of 2:1 and 16:9 frame guides as our benchmark for usable coverage.
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Another @truelensservices TLS feature this week with the rehoused Zeiss Contax AE Custom lenses with the AE ‘Ninja Star’ inspired iris design.
The coverage is once again very good in the 2:1 and 16:9 aspect ratios. The 18mm has fairly limited coverage but from 25mm and up, the lenses have near-to-full coverage on the open gate sensor. Considering the 35mm, 50mm and 85mm are T1.5 lenses, this allows for fast shooting with full coverage on the 17K sensor.
#mediumformat #filmmaking #blackmagicursacine17K #zeisscontax #zeisscontaxae
Oct 22
Blackmagic Ursa Cine 17K Lens Testing - TLS Mamiya645 with Speed Booster
We had the pleasure of testing the @blackmagicnewsofficial Blackmagic Ursa Cine 17k - 65mm sensor camera on a huge range of our available lenses.
With the camera native sensor aspect ration being 2.2:1, we conducted the testing using the aspect ratio’s of 2:1 and 16:9 frame guides as our benchmark for usable coverage.
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This week highlighting the @truelensservices TLS rehoused Mamiya645 lenses with the built-in speed booster, making them faster and wider than their original base lenses, while maintaining all the excellent quality of the medium format glass.
Referencing the useable aspect ratio of 2:1 and 16:9, the coverage is excellent! Starting at 25mm and onwards across the range, the 17mm Fisheye has some port-holing, but an interesting effects lens. The Mamiya’s are a great, compact option at 2:1 aspect ratio, with a very small amount of vignette in full sensor mode.
The TLS Mamiya645 lenses are available for rental at The Vision House. @tvh_rentals
#mediumformat #filmmaking #blackmagicursacine17K #mamiya645
Oct 16
Snickers - “Troll”
A wonderful, fantasy-inspired spot for Snickers by the folks at Haven’t You Done Well Productions. Shot by DOP Aaron Farrugia on the Arri Alexa35 using Zeiss Ultra Primes.
Great job everyone!
Production Company: Haven’t You Done Well Productions @haventyoudonewellproductions
Director: Max Miller @maximusmilla
Director: Mark Bonanno @mark_and_charlie
Executive Producer: Tom Rickard @tom__rickard
Producer: Brendan Lee @brendan.lee_
Production Manager: Grace Quinn @gsquinn
Director of Photography: Aaron Farrugia @aaronfarrugia
1st AC: Sunny Wilding @sunnyboywilding
2nd AC: Cecelia Hedditch @pashrash
Gaffer / Grip: Jem Towsey @northside_lights
Lighting Assist: Jack Donald-McDowall @jackdm.film
Lighting Assist: Joe Seymour @seymourlights
Lighting Assist: Tom Hodge @tomhodgemedia
Prosthetics: SharpFX / Russell Sharpe @sharp_fx
Grade: CJ Dobson (Moodlab) @cjdobson.colourist
@zeisscinematography @arriaustralia
#zeissultraprime #arrialexa35 #tvh_rentals #snickers
Sep 4
Cooke Panchro/i Classic S35
The Cooke Panchro/i Classic S35 lenses bring the character of the legendary Speed Panchros into a modern, production-ready lens set.
Designed around the original Panchro optical designs, these lenses deliver that unmistakable ‘Cooke-Look”, with lower contrast, gentle focus fall-off towards the edges, and distinct bokeh shape thanks to the 9-leaf iris design, without sacrificing the precision and reliability expected from a modern cinema lens.
Our S35 range covers 18mm through 135mm, with most of the core lenses at T2.2, and every lens is colour matched for consistency across the set. Modern /i data technology also provides lens metadata for focus, iris and other key parameters.
Whether you’re chasing the look of classic cinema or simply want an image with a little more personality, the Panchro/i Classic S35’s are a beautiful choice for any project.
Available for rental at The Vision House @tvh_rentals
@cookeoptics
#CookeOptics #CookeLenses #Panchro #PanchroiClassic #SpeedPanchro
Aug 21
“The Airport Chaplain” - Series
The Airport Chaplain starring Hugo Weaving, Claudia Karvan and Shabana Azeez, will have its world premiere at the Melbourne International Film Festival next month followed by its release on SBS on Demand and Netflix from the 26th August.
The 8×30 min series captures the high-stakes world of a bustling international airport, told through the struggles and triumphs of the workers who keep it running.
Captured by DOPs Alex Cardy and Sky Davies, the series was shot on the @arriaustralia Alexa35 with a mixture of @cookeoptics Panchro/i Classics, @angenieuxlenses Optimo zooms, and a mixture of additional vintage glass.
Director: Bonnie Moir @bonniemoir & Tig Terera @t.ig_
Creator: Elise McCredie @elisewednesday & Jude Troy @judetroyirish
DOP Block 1: Alex Cardy @alexcardy
DOP Block 2: Sky Davies @msskybird
B Cam Op / Steadicam: Max McLachlan @maxi_steadi
A Cam 1st AC: Cameron Gaze @gazecameron
B Cam 1st AC: Sam Newman @newmans88
A Cam 2nd AC: Tom Phillips @shittypicsbytom
B Cam 2nd AC: Sara Ricuputo @sara_charliee
Video Split Op: Alessia Chapman @alessiachapman.dp
Gaffer: Crispian Hayler @luna___lights
Best Boy Lighting: George Husband
Key Grip: Ryan Thompson @rtgrips
Best Boy Grip: Dale Williams @bleedincactus
Grip: Brodie Britten
@sbsondemand
@melbfilmfest
@wearevicscreen
#cookepanchro #angenieuxlenses #arrialexa35 #tvh_rentals
Jul 30
Lens Testing Friday!!
We compared a few of our 50mm vintage lens options; testing the look and shape of the bokeh, focus breathing, falloff, colour cast, and direct flare handling.
Featuring:
Leitz HUGO 50mm T1 Noctolux
TLS Mamiya645 50mm T2.3 (with Speed Booster)
TLS Canon FD SSC 55mm T1.3
TLS Canon K35 MKIII 50mm T1.3
TLS Vega 50mm T1.5
All shot on the Alexa Mini LF 4.5K OG - Arri REC709 colour - No colour grading applied
If you have any questions about lens coverage, options, or want to do some testing of your own, get in contact to see our huge range of vintage lenses
All available for rental at The Vision House @tvh_rentals
@arriaustralia @truelensservices @leitzcine
#canonfd #canonk35 #arrialexaminilf #mamiya645 #noctolux
Jul 17
Taubmans (PPG) - “Making Painters”
A wonderful series of vignettes for Taubmans brand paint, shot by DOP Max Walter using the @arriaustralia Alexa35, @truelensservices TLS rehoused Mamiya645 primes and @cookeoptics Cooke 18-100mm zoom with @opticamagnus rear expander.
Client: Taubmans @taubmans
Agency: Sunday Gravy @sunday.gravy
Production Company: Good Oil @goodoilfilms
Director: Novemba @novembafilms
Producer: Catherine Warner
DOP: Max Walter @maxwellwalter
1st AC: Lachlan Wright @_lachlannnn
#vintagelens #rehousedlens #arrialexa35 #cookelens #mamiya645
Jul 3
Mutimer - ‘My Own Inner Ballad’
A special directors cut for @mutimer.co, shot by DOP Carlos Garcia Knight using the @cookeoptics Cooke 5i lenses on the @arraustralia Arri 235 with Kodak film stock.
Client: @mutimer.co
Production Company: Wildebeest @wildebeest_
Director: Chris Martin @chrismartin_____
Executive Producer: Josie Baynes @josiebaynes_
Producer: Matilda Price matildaprice
DOP: Carlos Garcia Knight @carlosgarciaknight
1st AD: Matilda Price matildaprice
Steadicam: Joel Soh @_joelsoh
1st AC: Phong Truong @phongfocus
2nd AC: Angie Wong @angie.wsc
Gaffer: Michael Hales @michaelhales_
LX Assists: Coco Mata & Leigh Yang
Colourist: Max Ferguson-Hook @maxfergusonhook
Film stock: @memorylabfilm
Processing & Scan: @kodak_shootfilm and @digital_orchard
#kodak #shootfilm #arri235 #cooke5i
Jun 26
Feeling - Short Film
A huge congrats to the team behind ‘Feeling’ short film, currently screening at St Kilda Film Festival @stkildafilmfest. Shot by DOP Jonathan Haynes using the @arriaustralia Alexa Mini LF, @truelensservices rehoused Leica R primes, and @zeisscinematography Zeiss 21-100mm zoom.
Synopsis: A dancer sets out to deliver the performance of a lifetime to impress the girl of his dreams.
Cast:
Jamie Halliday
Sarah Keating
@isabellagiov
Writer/Directed: Jake Willis @_jakewillis_
Producer: Tobias Willis @tobiaswillis
Cinematographer: Jonathan Haynes @jonohaynes
Second Camera Operator: Zoe Coldham @zoecoldham
1st AC: Indigo Tait-Atkin @indi_gog James Bentley @james_bent1ey
Gaffer: Kathleen Mary Lee @kathleenmarylee Nick Clarke @nickrogerclarke Jesse Maskall @jessemask
Stage Lighting: @fobtective.productions
Colourist: @wearecrayon
Photography : @xeroframes @zoecoldham @hotter_irl @zoerosephotos
Poster Art : @hanswoody
Soundtrack : @clientliaison - Witness
Composed by @montemorgan @harvey.m__ Matthias Dierkes, Jonathan Dreyfus
In Collaboration with: @cityofmelbourne @inclusionfoundationau Emotion21
A @kewlstudio Production
Jun 11
Penny Lane is Dead - Feature Film (2026)
Penny Lane is Dead: the 80s Ozploitation inspired horror, shot by DOP Liam Gilmour ACS just dropped a new trailer. Shot on the Arri Alexa35 with Cooke 2x Anamorphics.
Liam Gilmour:
“An absolutely monumental effort from everyone involved, I think we managed 22 nights in a row to bring this film to life. I’m so grateful to all the incredible producers, cast and crew for giving their absolute all to this. Thank you!”
See it in cinemas July 23rd 2026.
Producers:
Ari Harrison, Julie Ryan, Andre Lima & Carly Maple
Crew:
Writer/Director: Mia-Kate Russell @miakaterussell
1st AD: Greg Cobain @greg_cobain
2nd AD: James Dubay @grande_rosso
3rd AD: @mellen_21
PM: Emma Marshall
DP: Liam Gilmour ACS @liamgilmour_acs
1st AC: Sian Bates @sian_rowena_bates
2nd AC: Rebecca Duncker @rduncker
Camera Operator: Jeon Patton @jeonpatton
Gaffer: Northside Lights @jemmyjemjemjem @northside_lights
Grip: Justin Van Zyl @vanzgripcompany
Best Boy: Mathew Schmidt @mathewschmidt
LX Assists: Dan Vilimaa @_dvilm Lachlan Stamp @stampy35 & Alex Nguyen
Dailies Gaffer: Cooper Film Lighting @cooperfilmlighting
Grip Assist: Django Nou
Tracking Vehicle: Peter Itsines @itchy.trackshots
Colourist: Marty Pepper
Starring:
@baileyspalding_
@mrbenotoole
@sophiawrightmendelsohn
@tferdz
@alxandrajensen
@stefano_el_marquando
@fletchhumpa76
Production Companies: @umbrellaentertainment , Cyan Films & Buffalo Media
@screenaustralia
@arriaustralia @arri @cookeoptics
#australiancinema #cookeanamorphic #alexa35 #horror
May 29
New trailer for #SACCHARINE film!!
Can’t wait to see this one in the cinema after its huge festival run!
Dir: @natalieejames
DOP: @charlie_sarroff
#australiancinema #horror #melbournefilmmaker #horror
Apr 24
Tasmania ACS Macro and Anamorphic Showcase
We had a wonderful time in Hobart on the weekend, speaking for the Tasmania ACS branch about the Macro and Anamorphic cinematography.
‘Macro’ is such a common term used for marketing these days so we thought it was important to dispel the myths and explain the true understanding of 1:1 macro ratio on the Full frame and S35 sensor sizes.
Thank you so much to all the participants that came along to listen and learn. If you have any questions or queries regarding these topics, feel free to reach out. Plenty of Macro and Anamorphic lens options available for rental at The Vision House @tvh_rentals
Special thank you to:
@kayellaustralia for providing the SmallHD Ultra 10 Monitor
@fujifilmx_au For providing the Fuji GFX Eterna55
@mac40media For lighting the scene
Tom Waugh from @ignitedigiaustralia and Peter Curtis @austcine.tas for organising and hosting
@joshualamont, @leuke and Richard Williams for lending their gear for the day
#macrolens #anamorphic #arrialexaminilf #arrialexa35 #cinematography
Apr 20
AFL - “If You Feel It, You’re In On It”
Client: Australian Football League @afl
Agency: TBWA Australia @tbwaaustralia
Director: Kale McRedmond @kalenciaga_
Producer: Afrim Memed
Prod. Manager: Heidi Atkins @heidiatkins_creative
DOP: Max Walter @maxwellwalter
1st AC: Lachlan Wright @_lachlannnn
2nd AC: Darcy Gooding @darcy.gooding
VTR: Bradley Andrew @bradleyandrew7
Gaffer: Jesse Moyes @jmoysie
Key Grip: Peter Mac Donnell @petermacdonnell
Colourist: Max Ferguson-Cook
Some beautiful slow-mo work using the @arriaustralia Alexa35 Xtreme and a mixture of @truelensservices TLS rehoused Zeiss ‘B’ Speeds and matching @zeisscinematography Zeiss S16 Super speeds.
Amazing work team!
#vintagelens #rehousedlens #zeissbspeed #tvh_rentals #alexa35xtreme
Apr 10
New gear Friday….Iron Glass Zenitar 16mm T2.9 Fisheye
The 1980s Zenitar 16mm is the widest lens in the Soviet lens range that has been rehoused by Iron Glass. With it’s impressive 180 degrees of view on the Full Frame sensor, unlike most fisheye lenses, this diagonal field of view fills the entire Open Gate frame without any black edges, making it highly practical for video use.
With characteristic fisheye distortion, it has a slight softness and halation in the highlights and lower contrast when used wide open at T2.9, it sharpens up with colour and resolution from T4 and onwards.
An excellent rehousing by Iron Glass provides 0.8 pitch gearing on both the focus and iris, close focus of 8”, and adds a circular iris for a consistent look across the other Iron Glass MKII range. The Zenitar 16mm is perfect for capturing creative shots where a fisheye effect enhances the storytelling.
Available now for rental at The Vision House @tvh_rentals
#fisheye #vintagelens #rehousedlens #sovietlens
@ironglassadapters
Mar 26
New gear Friday…Iron Glass RED P Primes
The RED P series are a rare and highly sought-after collection of Soviet lenses produced in the 1950s and 1960s. Starting life as soviet interpretations of Zeiss rangefinder lenses, the RED P primes are named due to the red Cyrillic ‘P’ on the front housing. And produced during a time when the coatings, care of optics, and mechanics, was very high. Known for their outstanding optical performance and unique visual character, these lenses have been treasured by photographers for decades.
Iron Glass have done an exceptional job of rehousing these lenses for modern use, with a common 95mm front diameter, circular iris design, and silver and red housing, paying homage to the original base glass.
Each lens in the RED P series features the distinctive circular bokeh and soft focus fall-off that Soviet lenses are famous for, with a distinctive combination of blue, teal, and purple flares, soft halation in the highlights, and a warmth that beautifully complements skin tones. Coverage is not an issue with all lenses covering Open Gate on the Alexa Mini LF.
Focal lengths include:
37mm T2.9 (Mir-1)
58mm T2.1 (Helios-44)
85mm T2.1 (Jupiter-9)
Available now for rental at The Vision House @tvh_rentals
#helios #vintagelens #redp #rehousedlens #sovietlens
@ironglassadapters
Mar 19
New gear Friday…TLS Rehoused Canon K35 MKIII
The Canon K35 MKIII lenses have finally been rehoused into the superior TLS housings! No more image shifting from worn out helicoils, optically cleaned, and clamp-on mattebox ready!
The Canon K-35s are the perfect combination of amazing performance and unique character. They are low contrast, have a gentle focus fall-off, and produce gorgeous pastel skin-tones.
The rehousing process keeps the original K-35 iris grouping to retain the classic bokeh that K-35s are known for. The MKIII version is the final generation of the Canon K-35 line released in the early 1980s and includes the rare 18mm T1.5 that covers S35+ sensors.
Focal lengths include:-
18mm T1.5 (S35+)
24mm T1.6 (FF)
35mm T1.4 (FF)
50mm T1.3 (FF)
85mm T1.3 (FF)
Available now for rental at The Vision House @tvh_rentals
@truelensservices @canonazpro
#vintagelens #canonk35 #rehousedlens #canonfd #tvh_rentals
Mar 13
A wonderful weekend spent at @bsc_expo BSC Expo in London. Catching up with so many friends, frequent collaborators, and new faces!
Thanks for having us!
#cinematography #filmmaking #vintagelens #bscexpo #tvh_rentals
Feb 14
That’s a wrap on 2025!!
Our office will be closed from 1pm Friday 19th December 2025, reopening 9am Monday 5th January 2026.
#tvh_rentals #goodshooting
Dec 19
