High Speed Hire offer a complete range of lens solutions
for cinema and broadcast.
Cinema Prime lenses – High Speed Hire offer a wide range of tried and tested cinema primes in addition to our digital cameras. Whether you’re going for a cinematic look or need pin sharp perfection for post work, we can help you select the most suitable glass for your project.
Arri Ultra Prime Lenses are both fast and have an optical performance surpassing that of all standard speed primes. Opening up new creative opportunities and making shots possible that would have been considered impossible before thanks to no geometric distortion and drastically reduced lens flare.
Celere HS Primes
The word Celere means ‘quick’ in Latin – a Celere prime lens is highly affordable without compromising on vignetting and are ideal for wide angle and full-frame cinematography. We can provide help on how to switch out its multi-mount system including PL, EF and E-Mounts should you need it.
Carl Zeiss CP2
Offering full-frame coverage, high speed, macro settings and a wide range of focal lengths makes the ZEISS primes a versatile lens for commercial use. Its biggest asset is its ability to be set to apertures of T.15 – making it ideal for low-light conditions and independent filmmakers and commercial videographics alike.
CINE-SERVO (CN7 & CN20) Zooms Lens
Slow-motion is now a regular addition to broadcasts like F1, MotoGP and Planet Earth. Canons class leading telephoto optics are perfect for events, wildlife or just when you need that extra range. CN7 & CN20 available in PL mount. By leveraging Canon’s 50+ years of designing broadcast lenses means it will offer a high level of ruggedness and in-use reliability required to fulfil your needs, with a robust chassis construction.
Tips for lens selection:
High Speed filming requires a lot of light; it’s worth considering the lenses characteristics and performance wide open. The amount of T-Stops a lens can offer will determine what effects you’ll achieve, so this is an important factor to keep in mind.
The Phantom Miro has a 19.2mm x 12.0mm sensor giving a crop factor similar to Super-16 format. With 9 stops of dynamic range and quite harsh highlight roll off a more cinematic lens helps to get the best from this camera.
The Phantom Flex4K has a 27.6mm x 15.5mm sensor giving a Super-35 crop factor at 4K and cropping down further to Super-16 for 2K if required. 13 stops, log profile and nice highlight roll off most glass with look great. Zeiss CP’s – Ultra Primes will give you pin sharp images. For a more cinematic look the Celere, Leica’s or Cooke’s are a good option.