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.

Fujinon Cabrio 4K Cine Zoom 20-120mm, T2.9 (S35, 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
Fujinon MK 18-55mm, T2.9 (S35, E-Mount)
		The Fujinon MK 8-55mm mid-range zoom lens features outstanding optical performance and low distortion with T2.9 speed across the entire zoom range. The 18-55mm focal range is good to shoot with and 200° of focus rotation gives extremely precise focusing. Features: Excellent edge-to-edge optical performance Constant T2.9 across the entire zoom range Colour matches with the bigger Cabrio zooms Ultra-compact and less than 1kg Macro function 3 x Standard 0.8 MOD Gears
Tokina Ultra-Wide Angle Cine Zoom11-16mm, T3 (S35, 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
Macro Cine Prime 100mm, T2.9 (S35, PL Mount)
		The Tokina Cinema AT-X 100mm T/2.9 macro lens is used to film extreme close-ups of objects.
		With a minimum close working distance of 11.8 inches (0.3 meters), the Tokina Cine Macro is a true 1 to 1 macro lens, which means it can focus on something the same size or as small as the cameras sensor; awesome macro capability. An audience can appreciate for the first time, the delicate complexity of everyday items. Even printed words and maps take on new importance when we can see the very texture of the paper or the indentations of each letter produced by a typewriter. Macro filming brings your audience's focus into places their eyes normally don't go.
Veydra 25mm 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 are true cine lenses built for cinema acquisition, they are not re-housed photo lenses. Colour rendition is outstanding and image quality rivals other much more expensive cinema lenses. Close focus of just 10-inches. Veydras optically colour match incredibly well with my Cabrio 20-120mm and Fujinon MK18-55mm cine zooms. It’s a completely different feeling for an audience watching someone shot close range on a 25mm, apposed to the feeling they get when shot in a similar frame size on an 85mm. The 25mm is more intimate, it’s like the camera is within the moment, instead of just observing from a distance on the 85mm. Most movies are predominately shot with short focal lengths around 25mm. For general interest, here are the favorite 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 Canon J9 & J20 ENG Zoom Lenses
		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
Voigtlander 15mm f/4.5 Super Wide Heliar Aspherical IlI (Full frame, E-Mount)
		Voigtländer is one of the oldest optic manufactures in the industry
		The Voigtlander 15mm Super 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.
Vinatge Helios 44-2 58mm, f/2 (Full frame, PL or 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.

Hoya NDx16