Lensworks Rentals

05/26/2026

Super 16 forever 🎞️⚡️

There’s just something about S16 that still hits different. That unmistakable texture that keeps showing up in music videos, docs, fashion films, skate projects, and features alike.

Our Super 16 zoom lineup is stacked with some of the most legendary glass ever made:

• Canon 8-64
• Canon 7-63
• Canon 11-165
• Canon 11.5-138
• Optex 10.5-180

From gritty handheld doc energy to polished cinema movement, these lenses bring character, speed, and flexibility that modern setups still chase.

The Canon zooms deliver that classic sharp-but-organic broadcast cinema feel, while the Optex 10.5-180 is an absolute monster for long-range compressed shots and wild perspective work.

Perfect for:
🎬 Aaton builds
🎬 SR3 packages
🎬 Music videos
🎬 Fashion/editorial
🎬 Texture-heavy digital capture
🎬 True film workflows

ALSO — come see us at Cine Gear 👀
Lensworks will be exhibiting this year with a booth featuring our custom products, specialty tools, and some new lens additions we’re very excited about. Stop by, check out the gear, and talk lenses with us.

Super 16 isn’t nostalgia anymore — it’s a look.

shotonfilm canonzoom arriSR3 aaton filmmaking

04/28/2026

Stunning work by dp shot in glorious kodak 200T !!!!!

04/24/2026

with .repost
・・・
A few more stills from King Ivory, on now. Ben Foster is an absolute legend, along with Graham Greene and Melissa Leo. It was a pleasure working with such veteran talent! Jasper Jones was inspiring to watch work as well, King Ivory was one of his first films and it’s obvious that he has an amazing career ahead of him.

Director | John Swab
Producers |
DP |
Steadicam/A Cam Op | .2
B Cam Op |
A Cam 1st AC |
A Cam 2nd AC |
B Cam 1st AC | Payton Bayless
B Cam 2nd AC | Andrea Drake
DIT | Daniel Moore
Stills |
CLT | Aaron Bracetty
ACLT | Jimmy Hollingshead
LT | Jason Oser
Key Grip |
BBG |
Grip | Paul Hillburn Chad Phelps
PD |
Art Director | Morgan McClellan
Lead Man |
Property Master |
Costume Designer | Kaitlyn Smith
Costume Supervisor | Katy Bruce
HMU |
Sound Mixer |
Script Supervisor | Rachell Russinyol
1st AD | SB Weathersby
2nd AD | Jessica Dean Rose
2nd 2nd AD |
PA’s | Carlos Villalobos, Jack Berrey, Dave Hancock, Kelly Prewitt, Josh Murray, Garrett O’Brien
Stunt Coordinator | Justin Parks
Stunts | Justin Hall, Trenton Rostedt, Ora Brown, Darin Delaney
Editor | Andrew Aaronson
Colorist |

Thanks to for the camera package. Arri Alexa 35 with Leica R glass



lensaddiction

04/22/2026

Lensworks lightbrush kits out in the wild! This particular production started with a low quality product which does not have a stable or reliable wireless connection. Lightbrush to the rescue with a stable consistent setup ready for demanding production environments. 2.4 spectrum wireless with CRMX control. Perfect tool for dialing contrast between 2 cameras in a challenging lighting setup!!

04/16/2026

with .repost
・・・
Swamp Things 🤙🐊

📷:

04/03/2026

Fantastic work shot on the minolta rokkor set!!! with .repost
・・・
This was a special shoot. Just me and Dano running around with his father and .

You can really feel the beauty of the Minolta Rokkor’s provided by . One of my favorite lenses.

Artist
Director: 👑
Cinematographer: 😙
Editor Zoe Mountain 🙂‍↕️
Colorist: 🤞
Color producer: 🥰
1st AC: .masih 🫶
Location: .ranch
Edit House: Trim Editing
Beauty Vfx: Sage Shutty

Starring
& Pavel Cerny

03/28/2026

with .repost
・・・
DP Pat Shahabian shares insights into his work with the ALEXA 35 on Death Cab for Cutie’s “Riptides” music video:

“The concept was wonderful, built around a lighting gag that alternated between backlit silhouettes and front projections while aiming to find a balance between the two in camera. With no prelight or tech day I knew we needed some safety on how we could faithfully expose the image with limited time and resources. We were limited to middling output lights and projectors, the bulk of which were 1K backlights and two 12K projectors that we pixel mapped for our five screens. The size of our set design also meant keeping the projectors at about 30’ distance from the set, knowing our output would be limited and the treatment required a stop of around a T2.8/4 split (down to about a T5.6 at times).
ㅤ
I opted for shooting the entire project on the ALEXA 35 in ES mode, heavily utilizing the 6400 EI setting. A few closeups were achieved with ARRI Ultra Primes at a T2 at 4800 EI. I was stunned at how clean the image was at a rating of 6400 and was able to take the footage into the DI at Company 3 with minimal concern for how far we could push the image before it fell apart.”

👉 Watch the full video at the link in bio!

Director:
Director of photography:
Production design:
Lighting director: (Spike Kienholz)
Prod company:
Executive producers: &
Director rep: &
Producer: Anjelica Valente
1st AC:
2nd AC:
DIT: /
Gaffer:
BBE:
Key grip: Henry Martinez
BBG: John Portillo
Grip: Rafael Libos
Editor: Jason Lester
Color:
Color house:
Stylist: Damaris Flores
Hair: Eddie John Duran
Makeup: Nelly Santiago
PA: Sydney Steinberg, Tyler Geraty
Camera:
ㅤ

03/15/2026

Excited to announce we will be attending the 2026 Lens Summit in Portland !! with .repost
・・・
We are excited to announce that will be joining us at the 2026 Pacific Northwest Lens Summit next week in Portland, OR! They will be showcasing the Legacy 1.8x Anamorphic Lenses, X65 Large format prime lenses, Lensworks Lightbrush V2, Lensworks NEO AO 2

02/14/2026

The X65 family is growing. Say hello to the 40mm T1.8 and 68mm T1.8. 💎

Building on the success of our initial set, these two new focal lengths bring the same signature X65 “Ultra Large Format” magic to your kit. Designed and rehoused right here at Lensworks, these lenses don’t just cover sensors—they wrap them in character.

Why the X65 series is a game-changer: ✨ Massive Coverage: A 60mm image circle that effortlessly covers Alexa 65, Blackmagic 17K, and Fujifilm Eterna. ✨ Vintage Soul: Beautiful micro-contrast for smooth skin tones and organic, character-filled flares. ✨ Modern Precision: Extended 270°–300° focus rotation and stainless steel/brass internals for those who demand repeatable, tactile performance.

The New Additions:

The 40mm T1.8: The perfect “wide-normal” for immersive storytelling.

The 68mm T1.8: Stunning subject separation with that legendary X65 fall-off.

Consistent 110mm fronts. Standardized LPL mounts. Uncompromising quality control.

🔗 Ready for your next show? Book the X65 series at the link in our bio.

02/07/2026