ARRI Rental | Anamorphic lenses

Since its mainstream introduction in the 1950s with CinemaScope, anamorphic cinematography has captured the imaginations of filmmakers and audiences alike. The cinematic width, the oval bokeh, and the characteristic flaring all add up to a unique and distinctive aesthetic.

ARRI Rental offers a range of modern and vintage anamorphic lens options, covering different squeeze ratios and delivering different looks. Some 35 mm anamorphics will cover larger formats, but testing is required to be sure of coverage.

Anamorphic lens lists

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35 mm anamorphic prime lens list

ARRI/Zeiss Master Anamorphic T1.9
28 / 35 / 40 / 50 / 60 / 75 / 100 / 135 / 180 mm
Atlas Orion T2
32 / 40 / 50 / 65 / 80 / 100 mm
Canon Xtal Express T1.4 - T1.6
24 / 30 / 35 / 50 / 85 mm (includes doubler for 50 mm)
Cineovision T1.4 - T2.8
24 / 35 / 40 / 50 / 85 / 100 / 135 / 200 mm
Cooke Anamorphic/i T2.3 - T2.8
25 / 32 / 40 / 50 / 65 / 75 / 100 / 135 / 180 mm
Cooke Xtal Express T2.2 - T2.9
35 / 50 / 75 / 100 / 200 mm
Hawk C-Series T2.2 - T3
25 / 40 / 50 / 60 / 75 / 100 mm
Hawk V-Lite T2.2 - T3
35 / 45 / 55 / 80 / 110 mm
Hawk V-Plus T2.2 - T3.5
35 / 40 / 50 / 65 / 75 / 100 / 120 mm
Hawk V-Series T2.2 - T3
30 / 35 / 40 / 50 / 60 / 75 / 100 / 135 / 180 / 250 mm
Kowa Mirrorscope T2.3 - T3.4
40 / 50 / 75 / 100 mm (includes 30 mm wide-angle adapter)
Lomo Anamorphic T2.4 - T3.7
35 / 50 / 75 / 100 / 150 mm
Toyo Eiki T2.3 - T4.5
32 / 50 / 100 / 203 mm
Zeiss Cinema Speedstar T2
35 / 50 / 85 mm
35 mm anamorphic zoom lens list

Angenieux anamorphic zooms
30-72 mm T4 / 44-440 mm T4.5 / 48-580 mm T4.5 / 56-152 mm T4 / 50-500 mm T5.6
ARRI Ultra-Wide Anamorphic Zoom 19-36 mm T4.2
Canon K-35 25-120 mm macro T2.8

Cooke anamorphic zooms
28-140 mm T4.5 / 36-200 mm T4.5 / 40-200 mm T4.5 / 50-500 mm T5.6 / 50-500 mm T6.3

Ultrascope 76-300 mm T5.9

Diverse anamorphic optics

Modern options

ARRI/Zeiss, Cooke, Hawk

Vintage options

Cineovision, Xtal, Kowa, Lomo

Get in touch

Find out more about our anamorphics...

In your own words

Cinematographer Robert Yeoman ASC ("Mamma Mia! Here We Go Again")

I always felt anamorphic lenses have almost a magical quality to them.

Cinematographer John Conroy ("The Happy Prince")

Master Anamorphics are wonderful on the skin; they're sharp but not too sharp and they have a really nice creaminess to them.

Here's what's been happening...

2020-12-14

"Nomadland" - Behind the Scenes

Joshua James Richards breaks down the cinematography of "Nomadland" from his home in this behind the scenes video.

Rebecca-Netflix-cinematography-Laurie-Rose-ALEXA-65-LF-DNA-lenses-large-format-ARRI Rental_1

2020-11-19

ALEXA 65 and DNA lenses on Netflix’s “Rebecca”

Laurie Rose BSC shares a set of ARRI Rental Prime DNA lenses between an ALEXA 65 and ALEXA LF on Ben Wheatley’s new adaptation of the Daphne du Maurier novel.