OLD FAST GLASS - Cinema Lens Rentals

Beautiful work from working with director Saddiq Abubakar for “Hoopers Haiku.” Quinn paired an ARRIFLEX 435 4-Perf with our rehoused Minolta Rokkor Primes. Quinn is always experimenting with different lenses for his film work, which is really inspiring. Filmmakers have more lens options than ever for 35mm film, and it’s exciting to see work like this.

These lenses were originally developed for 35mm still photography. Newly rehoused within the last few years as an Ancient Optics / GL Optics™ collaboration, these lenses are more than capable of delivering excellent results for motion picture film.

If you have a project coming up for 35mm, reach out. There are more lens options than ever for film. And of course we have the cameras too: ARRI LT (3P, 4P), ARRI 435 (3P, 4P), ARRI 235 (2P, 3P, 4P), AATON Penelope (2P, 3P).

Credits:
Director: Saddiq Abubakar
Cinematographer: Quinn Feldman
Production: Echobend
Producers: Quinn Feldman Quinn Cavin
EP: Zubin Anklesaria
Editor:
Colorist: gabe_jl_sanchez Quinn Feldman
Composer: Tim Aristil
Sound Design: Dustin Foster
Conformist: Dustin Foster
1st AC: Matthew Thomas Borek
Rollerblade Op Quinn Feldman
Camera and Lenses: Old Fast Glass
Development: FotoKem
Scanning: Origins Archival
Stock: Kodak Motion Picture Film Stock Janusz Kaminski’s garage
Format: 4 perf
250D, 500T, expired 200T

Gorgeous work from Michael Bauman Mike Bauman for Netflix’s “Monster: The Lizzie Borden Story.” Michael had an eclectic mix of lenses for Season 4, but one of the primary sets was our vintage ZERØ OPTIK, LLC rehoused Leica M primes. The 35mm T1.5 Summilux, 50mm T1.1 Noctilux, and 90mm T2.1 Summicron were workhorses for Michael. These lenses have the perfect balance of performance and character for modern digital sensors, and they are extremely flattering on your subject. You can get surprisingly good results wide open, for such fast, vintage lenses. The set is also extremely consistent from focal length to focal length, delivering lovely bokeh, and gorgeous flares. They are addictive.

Monster is streaming now on Netflix.

Multiple sets if these Zero Optik rehoused vintage Leica M primes are available at OLD FAST GLASS.

We are accepting applications for multiple positions including: Rental Agent, Lens Technician, and Equipment Prep Technician. We are looking for people with 3+ years of rental house experience. Email us at [email protected] today!

Beautiful work from cinematographer Jeffrey Vogeding for St. John Knits. Jeffrey paired the Blackmagic URSA Cine 17K 65 with our Ancient Optics SERIES 65 Primes. SERIES 65 are our first set of lenses curated specifically for the 65mm format. We feel that these lenses have the perfect balance of performance and character for the digital 65mm format.

In Jeffrey’s words, “I chose the Series 65s because they sit between vintage abstraction and modern perfection. For a brand defined by its textiles and craftsmanship, I needed lenses that could resolve and showcase that detail while still leaving room to reframe. The focus and exposure falloff at the edges keep the eye centered, while skin stays natural and beautiful. The bokeh is soft, the flares are beautiful, and the close focus is so good your subject probably won’t want to get that close to the matte box. I also love that they won’t tell me what’s inside them.”

If you want to discover more about this shoot and Jeffrey’s approach, check out the full article in the June 2026 issue of Film and Digital Times.

Multiple sets of SERIES 65 Primes available for rent at OLD FAST GLASS.

GEAR UPDATE - we now have 2 complete sets of vintage TODD AO Anamorphic lenses for rent. These are some of the rarest lenses out there. You will occasionally find mixed sets, but it’s uncommon to find complete sets of each generation. The first generation TODD AO Anamorphics use Cooke Speed Panchro and Kinetal primes as their base spherical lenses. TODD AO designed a new type of focus system for this series, that earned TODD AO’s Dr. Richard Vetter an Academy of Motion Picture Arts and Sciences Sci-Tech award in 1973. Their edge performance is quite good for vintage anamorphics. Flares are really special, barrel distortion is just the right amount, and bokeh has a lot of classic anamorphic texture. The lenses have internal focus, standard front diameters, and standard focus and iris gears.

The second generation of TODD AO use Canon K-35 spherical primes, and are often referred to as TODD AO “High Speeds.” They use an entirely different focus system: opting for the classic variable diopter approach. This allows the 35mm and 55mm to focus to an impressive 2’, which is unheard of for vintage anamorphic lenses. These are sharp in the center with heavy falloff. Wide Open, the look is quite unique and dreamy. Stopped down and they are more controlled. Flares are big and beautiful, bokeh is lovely, and they have moderate barrel distortion. They have been upgraded with ARMA CINE Orbitals which allow the use of follow focus systems and standard 4x5 clamp-on matte boxes and give the lenses standard front diameters.

Yes, they are both TODD AO sets. But they are quite different. Both produce beautiful images, but they do it in different ways and give you different results. Test out both sets in our lens test studio to see which set might be right for your project.

In case you missed our Cine Gear announcement, the Ancient Optics Petzvalux 21mm T1.9 has landed. Now, the unmistakable look of the Petzvalux Primes is available in an ultra wide 21mm with FF/VV/LF coverage. Like the rest of the set, it gives you the unique look of a Petzval lens, but in an ultra wide focal length, giving you a complete 8-lens set from 21mm to 120mm. Like the rest of the set, the 21mm is user tunable. By adjusting the tuning ring you can dial in bokeh character, spherical aberration, and field curvature giving you more control over your images.

Stunning work from cinematographer Jacob “Kuba” Bojsza working with director Ayodeji for “sleep” by thekidlaroi

Kuba paired one of our ARRI Alexa 35 Xtreme kits with Cooke 20-60mm T3.1, Canon 7-63mm T2.6, Canon 11-165mm T2.5, Canon FD 300mm T2.8, and Optex 5.5mm T2.

DIRECTOR: Ayodeji
CREATIVE DIRECTOR: nickvernet
COMPANY: Paar
EP/PRODUCER: Ben Tan
PM: David Cho
PC: Kevin Il goo Chang
CINEMATOGRAPHER: Jacob “Kuba” Bojsza
PRODUCTION DESIGNER:
EDITOR: Ayodeji
COLORIST: Jack Film Scans and Color Grading

GIRL: Mila Degray

1ST AD: KWESI SALMAN
2ND AD: ANDRE MARIGNY
1ST AC: Mike Lemnitzer
2ND AC: ✩ 𝙰𝚜𝚑𝚕𝚎𝚢 𝙺𝚊𝚝𝚎 ✩
STEADY OP: James Marin, SOC
DIT: GAVIN WHITE
CLT: Nick Durr
ACLT: ROGELIO “ROLO” VASQUEZ
SLT/DRIVER: GIOVANNI VARGAS
SLT: ISAAC HAN, AIDEN DE JONG, KEVIN KIM
KEY GRIP: Brad Powers
BBG: WADE CORDTS
GRIP/DRIVER: JAVAUN CRANE-BONNELL
GRIP:
NICHOLAS LUNA
JEREMY RECORD
DAVE DONALDSON
CAM RENTAL: Old Fast Glass

SPFX - HEAD: BLUMES TRACY, BOB GARRIGUS
SPFX:
RANDY PIKE
DUSTIN WASHBURNE
MARK GARRIGUS
ERIC MATUSCHEK

SET DRESSER: GRIFFIN ELLIS
SITE REP: BROOKELYNN BISORDI
PA:
BORIS NAVARRO
BEN FISK
PATRICK WIRTH
PA/DRIVER: RYAN ANTUNA

STYLIST: Dev Alexander
HAIR + MUA: MOLLIE DODSON
TKL PHOTOGRAPHER: ADAM KARGENIAN
PHOTOGRAPHER: CHRIS YELLEN
BTS PHOTOGRAPHER: GRIFFIN ELLIS
TITLE CARDS: BROOKS TRAVERS
DIGITAL TEAM: DORM ROOM
TKL TEAM: AMANDA GONZALES, MIKE G
SECURITY: TONY AGUIRRE JR

COLUMBIA RECORDS:
Saul Levitz
SHEILA MOHEBPOUR
(ee-lawn)
JESLYN WANG

Beautiful work from cinematographer David Jones working with director Imran J. Khan for the film “Mustache.”

David chose our TLS rehoused vintage LOMO Round Front anamorphic lenses which he paired with Sony Venice. In David’s words, “the LOMO round fronts were perfect. We had it in mind that we were going to crop the image, so we actually cut out the little bit of vignetting the lens has with the Venice 1. We cropped it to 2.29:1, which felt right. Imran, J. Kahn, the director, showed me some 90s vintage film snap shots from his teen years. He also showed me scenes from Goodfellas which made for a fun combination of influences to interpret. The LOMOs gave us the right amount of vintage character we liked for this period. And the bigger, anamorphic feel matched how we imagined our lead — someone who spent middle school over-dramatizing his own story.”

LOMO Round Fronts are a favorite of many cinematographers. They are surprisingly sharp on center, with gradual falloff. Bokeh is gorgeous, with a nice amount of swirl to it. They have the right amount of barrel distortion, and beautiful lens flares. They are quite flattering for anamorphic lenses, never stretching an actor’s face. The TLS housings give them reliable modern mechanics, and improved close focus.

The film won the audience award at SXSW and is streaming now.

CREDITS
Mustache
🎬 DIRECTION
Director: Imran J. Khan
1st AD: Brendon Cabral

🎥 CAMERA
DP: David Jones
1st AC: Richard Gonzales
2nd AC: Avigal Levona
DIT: Clayton Masales

💡 GRIP & ELECTRIC
Gaffer: Kirill Melamed
Key Grip: Mitchell Jones

🎨 ART & COSTUME
Production Designer: Alexis DeBad
Costume Designer: Ginger Martini

🖥️ POST
Editor: Harrison Atkins

✨ ALSO ON SET
Sound Mixer: Josh Van Dreumel
Key HMU: Nightstar
Locations Mgr: Scott Wood

🏷️ PRODUCERS
Exec Producer: Andrew Bronfman
Exec Producer: Jason Jallet
Exec Producer: Jonathan Bronfman
Producer: Christina Won
Producer: Jessica Sittig
Producer: Christopher Storer
Co-Producer: Cooper Wehde
Co-Producer: Parker Mays
Line Producer: Craig Fleming
Line Producer: Carla Martí

NEW GEAR! ZERØ OPTIK, LLC rehoused Pentax SMC Takumar 15mm T4 has been added to our vintage Pentax lens set. This is now the widest lens in the set. It’s an ultra-wide rectilinear lens, not a fisheye. The coatings are a perfect match for the color, contrast and lens flare character of the rest of the set.

These Full Frame Pentax primes are medium contrast, and are surprisingly sharp for older lenses. They produce beautiful warm lens flares, and bokeh is soft, with some unique texture to it. For comparison, they are not quite as expressive as Canon Rangefinder / Type SK, but they are also not as modern as Canon FD, Minolta Rokkor, or Olympus OM. They fit nicely between those worlds.

The set also includes a first of its kind 25mm T2.3, based on original Pentax optics, which makes this a much better set for cinematographers, and a perfect match to the rest of the primes. The entire set features Zero Optik’s new Name Tag mounts which transfer lens data to the camera including lens make, model, focal length, max T stop and serial number. Available now to rent at Old Fast Glass.