The Sony F5 is a Super35 cinema camera and just like the Arri Alexa, it's the same format as those 35mm movie cameras that purred away in film studios for decades.

20-120mm Fujinon Cabrio Cine Zoom, T2.9 ( S35, Arri PL Mount )
		The new Fujinon Cabrio 20-120mm is a Super35 wide to medium telephoto PL-mount cine zoom lens. The Cabrio provides a sharp prime lens feel, images have a good filmic quality, creamy smooth with good contrast. It brings 4K to the whole picture, right out to the edges and corners; at every focal length. The Ks go way beyond 4K in the Cabrio’s centre zone. Comes with Chrosziel fluid zoom drive. Features: Constant T3.5 aperture throughout the zoom range 9 iris blades for attractive bokeh Minimal focus breathing Parfocal 200° focus barrel rotation and 120° zoom rotation Macro focus function Detachable ENG style zoom control 0.8 Pitch gear focus, iris, and zoom rings
18-55mm & 50-135mm Fujinon MK Cine Zooms, T2.9 ( S35, E-Mount )
		The Fujinon MK 18-55mm and 50-135mm are ultra-compact, lightweight cine zooms. They both have outstanding optical performance and low distortion with T2.9 speed across the entire zoom range. Features: Designed for Super 35 sensors Parfocal - Holds focus over zoom range T2.9 constant aperture throughout zoom range Excellent edge-to-edge optical performance 9-Blade aperture for pleasing bokeh 200° Focus rotation and macro mode Colour matched to Fujinon cabrio range 3 x Standard 0.8 MOD Gears Ultra-compact and less than 1kg
11-16mm Tokina Ultra-Wide Angle Cine Zoom, T3 ( S35, Arri PL Mount )
		The Tokina Cinema 11-16mm is a Super35 PL-mount cine zoom lens that delivers stunning ultra-wide angle perspectives. Centre resolution is way beyond 4K and edge-to-edge sharpness is excellent; it has the optical quality of lenses that cost 10 times as much. Features: T3.0 aperture throughout the zoom range 9-Blade aperture iris Parfocal 166° focus barrel rotation with minimal to no focus breathing 0.8 Pitch gear focus, iris, and zoom rings
Laowa 24mm Probe Lens, T14  ( S35 / Full Frame, Arri PL or E-Mount )
		The Laowa Probe Lenses allows creative lens placement by extending the lens forward of the camera body by 40cm. Extending the lens from the camera gives interesting perspectives normally unattainable when a lens is attached to a camera in the traditional way. The 24mm lens preserves the wide-angle perspective and gives a deeper depth of field than traditional macro lenses, more is in focus adding context to a scene. Probe Lenses also known as ‘Relay Borescopes’ are typically used for special optical tasks such as macro/micro visual effects, miniatures and wildlife filming. Used with Rhino EVO Motion Control and wireless Remote Air 4 lens control. 2:1 Double life-size magnification, 85° field of view, Close focus of 2cm, waterproof front barrel.
25mm Veydra Mini Prime, T2.2 (S35, FZ or E-Mount)
		I new these lenses were something special when I saw them in a Panavision rental catalogue.
		Veydra Mini Primes are true cine lenses with a close focus of just 10-inches. Colour rendition is outstanding and image quality rivals much more expensive cinema lenses. These lenses optically colour match incredibly well with my Cabrio 20-120mm and Fujinon MK18-55mm cine zooms. It’s a completely different feeling an audience gets watching someone shot close range on a 25mm, apposed to the feeling they get when shot in a similar frame size on a 85mm from a distance; the 25mm is within the moment. Most movies are predominately shot with short focal lengths around 25mm. For general interest, here are the favourite focal lengths of a few directors: 21mm Spielberg, Tim Burton 25mm Orson Wells, Scorsese 27mm Coen Brothers 28mm Terry Gilliam (early work) 14mm (later work)
Other lenses
Classic ENG Zoom Lenses, Canon J9 & J20
		Sony's B4 to FZ Lens adaptor (LA-FZB1) brings my old 2/3-inch ENG zooms back to life. Fitted to a Sony F5 camera, this lens adaptor gives me the same ‘field of view’ you would expect from a traditional 2/3-inch lens on a 2/3-inch camera sensor, without cropping or loss of angle of view; a super wide zoom lens stays super wide. The Canon J9 and J20 weren’t designed as HD lenses; HDTV wasn’t around in those days. It’s true these lenses don’t have the stunning edge-to-edge sharpness of my high-end cine lenses, but they can be used to achieve another look in my palette; they help to de-digitize the image and offset the hard edge of new breed super sharp cameras. Lets face it, a natural look is very pleasing and that’s why lens filter manufacturers produce whole sets of various diffusion filters to do just that. These lenses were designed as very high-resolution top end lenses and cost an absolute fortune in the day. I own Cabrio and MK cine zooms too, but the personality of these good old ENG zooms gives me further creative options with my F5 camera. B4 ENG lens kit: B4 to FZ Lens adaptor (Sony LA-FZB1) Canon J9a      5.2-47mm  S35 field of view equivalent 15 – 141mm Canon J20a    8-160mm   S35 field of view equivalent 24 – 480mm
40mm Voigtlander Nokton f/1.2, (Full-frame E-Mount)
		The world’s first full-frame 40mm lens with a F1.2 aperture
		The NOKTON 40mm F1.2 is a high-speed manual focus lens optimized for the imaging sensors of Sony full-frame mirrorless cameras. My Sony a7 III camera has in-body stabilisation, so this lens is a great combo for low light street/venue filming.
15mm Voigtlander Super-wide Heliar Aspherical IlI, f/4.5 (Full-fram E-Mount)
		Voigtländer is one of the oldest optic manufactures in the industry
		The Voigtlander 15mm is a completely manual ultra-wide-angle prime lens for Sony Alpha 35mm full-frame mirrorless cameras. It gives super wide view of 110 degrees on a 35mm full-frame sensor. Works beautifully with my Sony a7 III camera.
58mm Helios vinatge flare lens, f/2 (Full-frame, E-Mount)
		Made in U.S.S.R this Helios 44-2 58mm lens is a copy of the famous Carl Zeiss Biotar 58mm.
		Apparently when the Russians occupied East Germany, some of them went into the Zeiss factory and stole the Biotar design to make this amazing lens. Helios 44-2 lenses are known for their impressionistic bokeh that swirls in a circular pattern. It has a fast f/2 aperture and captures rich vibrant images with crazy lens flare when a light source hits the lens. Russian glass never goes out of style.