The Vision House

30/06/2025

26/06/2025

New Gear Thursday…Cooke 2x Anamorphic/i Zoom 35-140mm T3.1

Our latest addition to our Cooke 2x Anamorphic lens set, the 35-140mm T3.1 zoom is designed for Super35 format. Being a true front anamorphic lens, it delivers the classic “Cooke Look” with cinematic flares and controlled aberrations while maintaining a classic 2x squeeze throughout the zoom range and with a T3.1 aperture, it’s a real beauty!!

The 35-140mm offers a 4x zoom range in a 2x Anamorphic format, the 11-blade iris creates the classic oval bokeh, and with a minimum focus distance of 4’ , this lens is optimised for minimal distortion and controlled flares. It’s also colour-matched with the Cooke Anamorphic primes, Spherical primes, and Zoom lenses.

Get in touch to test out this amazing zoom for your next shoot!!
Available now for rental at The Vision House

25/05/2025

Congratulations to
Mandy Walker, ASC, ACS, AM Elected ASC President!

Mandy Walker has been elected President of the American Society of Cinematographers, becoming the first woman to lead the Society in its 105-year history. Known for her groundbreaking work on Elvis, Hidden Figures and Mulan, Walker brings decades of artistry and leadership to the role.

“I’m humbled to represent a society that has carved out an inspiring, inclusive space to meet and support other cinematographers,” says Walker.

23/05/2025

Feature Friday….Cooke 5/i T1.4

The Cooke 5/i T1.4 lenses were introduced at IBC 2009 in Amsterdam. Designed to cover the S35 format, their 30mm image circle allows them to comfortably cover Open Gate 16:9 mode on the Alexa35 with minimal vignetting. For the 5/i, Cooke’s designers developed and incorporated an illuminated and dimmable focus scale, 7-blade spring-loaded iris for smooth iris movement and backlash control, and are colour balanced and colour matched with the S4/i, mini S4/i, and 18-100mm and 25-250mm zooms.

‘The Cooke Look’ is a staple within the cinematographic lifeblood. Its character of warmth, object separation, and deliberate soft falloff towards the edges of frame make it unique and well respected within the industry. So much so, that the look has even been modelled and replicated for emulation in 3D animated films by Pixar.

Our Cooke 5/i lenses come in 8 focal lengths: 18, 25, 32, 40, 50, 75, 100 and 135mm.

Available for rental at The Vision House

21/05/2025

Teradek Bolt 3000XT 1:2 Kit for sale

Ex Rental but good condition, comes with all the components needed to start using. Selling due to upgrade.

1x TX with mounting block
2x RX with V Lock Plates
1x Array Panel and cables
12x Antennas
3x BNC SDI cable
3x DTAP to 2 Pin cable
2x Mains Power
Various Mounting Hardware
Large Hard case

We also have an extra Bolt 3000 receiver available to make it a 1:3 kit if you're interested.

If you require an invoice, please allow for additional GST charge.

Inspection available in Port Melbourne during business hours.

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21/05/2025

Teradek Bolt 1000XT 1:2 Kit for Sale

Ex Rental but good condition, comes with all the components needed to start using. Selling due to upgrade.

1x TX with mounting block
2x RX with V Lock Plates
1x Array Panel and cables
12x Antennas
3x BNC SDI cable
3x DTAP to 2 Pin cable
2x Mains Power
Various Mounting Hardware
Large Hard case

We also have Gen 2 and Gen 3 Sidekicks available to make it a 1:3 kit if you're interested.

If you require an invoice, please allow for additional GST charge.

Inspection available in Port Melbourne during business hours.

https://www.facebook.com/share/162RJ5wacU/

16/05/2025

Feature Friday….TLS Canon Rangefinders

The Canon Rangefinder lenses rehoused by TLS are truly unique in their look. While originally produced in the 1960s for Canon’s rangefinder series of cameras, they were a direct response to Leica’s market share and targeted at photo journalists for their small form factory and image quality. They are surprisingly sharp in the centre for their age, and the fall off is gradual but can be quite extreme towards the edges, especially on the wides. Low in contrast and warm in tone, perfect for skins tones and portraits. They have low chromatic aberrations and pop and flare with warmth and hints of rainbows.

The shining star in the set is of course the ‘Dream Lens’; the 50mm T1.1 (f0.95), getting its name from not only the super wide aperture and shallow depth of field, but also it’s single coated elements matching other focal lengths throughout the set. This gives the image a smooth and softer look, with exceptional bokeh and separation within the frame. Some would even say….dream like….

Expertly rehoused by TLS to incorporate a native LPL mount, common front diameter, and focus and aperture mechanics. Perfectly suited to the full frame of the Alexa Mini LF, but also holding their own quality and look to S35 image as well.

Focal Lengths include 19, 25, 35, 50, 85, & 100mm, available now for rental at The Vision House

16/04/2025

New gear Thursday featuring….Teradek Bolt 6 LT MAX

The Bolt 6 LT MAX is our new wireless video transmission system that supports up to 1080p60 10-bit 422 HDR video via 3G-SDI and up to 4K30 via HDMI. It features Teradek’s patented ‘Zero-Delay’ silicon chip, enabling wireless video transmission over both 5GHz and 6GHz frequencies, now fully accepted in Australia.

Our Bolt 6 LT MAX 1:2 system includes the compact Transmitter for easy rigging onboard the camera and 2x LT MAX receivers which now include flexible V-antennas for external antenna models and horizontal (H) ‘mushroom’ antennas for increased signal reliability in difficult RF environments. The MAX offers line-of-sight range of up to 5,000ft/ 450m with the easy to assemble array panel, which also supports unlimited receivers in Broadcast Mode.

We also have an optional 750 receiver ‘sidekick’ with permanent internal antennas for a compact, durable design without sacrificing zero-delay performance.

Get in touch to get the new Bolt 6 LT MAX on your next production!

10/04/2025

Feature Friday….The World of Macro

The concept of a macro is sometimes difficult to understand and it’s important to note that not all close focus lenses are considered to be true macro. As filmmakers, ratios of macro are more commonly substituted for the close focus, or ‘mins’ of a lens. But the basic idea is that a true macro lens allows for a 1:1 magnification ratio. Basically meaning if we had a 24mm high image sensor, and an object in the frame that was 24mm tall and placed at the lens’ minimum focus distance, the object would fill the whole height of the imager. (24mm:24mm = 1:1) Make sense?

Marco lenses come in all shapes and sizes. Long and pointy like the .cine Laowa Pro2be lenses, big and stout like the Zeiss Master Macro, and even Anamorphic with the Cooke 2x Anamorphic Macro. We also have the P+S Technik Skater Scope, which allows you to adjust the close focus ability of a huge range of compatible lenses. Whatever you are trying to achieve, we have many options to cover your Macro cinematography needs, and they all have a different looks, come from different era’s, and from some of the best lens designers in the business.

Get in touch to get a macro on your next job!

04/04/2025

Feature Friday….Cooke Varotal 18-100mm T3 & 25-250mm T4 Cine Varotal

A little history lesson for all you lens nerds out there! These two zoom lenses mark the beginning of innovation for Cooke/Taylor Hobson and played a key role in the widespread adoption of zoom lenses in cinema.

In 1975, Taylor Hobson introduced the Cine Varotal 25-250mm T4 zoom; the first in a groundbreaking new line that would later evolve into the MkII and MkIII versions. For its time, this lens delivered exceptional contrast and colour quality, thanks to its Varomag ‘wide-band’ anti-reflective coatings. A decade later, in 1988, Cooke unveiled the Varotal 18-100mm T3 zoom. With a range that effectively replaced an entire set of prime lenses and a fast enough aperture to allow entire films to be shot on just one lens, it was a game-changer.

Chief lens designer Gordon H. Cook and his team received numerous accolades for their pioneering work, solidifying their place in cinema history.

While only just covering S35 in their native format, when fitted with the Optica Magnus Academy to Super 35 Open Gate Expander coverage of the Cooke 25-250mm & 18-100mm increases to cover full Open Gate Alexa 35.

Both lenses are unique in their adoption of the ‘Cooke Look’, with a slightly soft and pleasing contrast and dreamy falloff. Pairing with the Panchro’s, S4i’s, 5i’s, and S4i Mini’s, both zooms and all the complimentary primes are available for rental at The Vision House

14/03/2025

Feature Friday…Ancient Optics Voigtlander Zoomar 36-82mm T3.1

Ancient Optics , in partnership with GL Optics , have revived the Voigtlander Zoomar 36-82mm f2.8 and bought it into the modern cine age. Designed by Dr Frank G. Back of Zoomar in Long Island New York and produced by Voigtlander in Germany, the 36-82mm Zoomar was the world’s first production zoom for 35mm still cameras in 1959.

As the Voigtlander Zoomar 36-82mm was designed for 135 format (commonly known as 35mm stills format) it covers full frame (36x24mm) allowing the rehoused zoom to cover modern day full frame cine cameras.
Like many modern day cinema zoom lenses, this lens is parfocal. With a sharp centre, the lens falls off towards the corners, with surprisingly low chromatic aberration for such an old lens, and has minimal focus breathing, it has an overall warmer colour tone.

The old single layer coatings deliver lower contrast images, and bold lens flares, and the circular bokeh has a unique texture to it, delivering results that make this lens a perfect match for some of our oldest lenses like the TLS rehoused Canon Rangefinders and rehoused Zeiss B Speeds.

07/03/2025

Feature Friday…TLS Mamiya 645

TLS’s rehoused Mamiya 645 lenses offers large format coverage with the addition of a built in speed booster fitted within the housing, which while also widening the focal lengths slightly, allowing the base set to start at 25mm, they also gain an additional stop over the base glass they are built from.

A unique 17mm is also available that is based off the Mamiya 645 24mm Fisheye. With the addition of the speed booster the 24mm has been converted to a focal length of 17mm providing a very unique ultra wide option when using the main set.

In order to get the maximum benefit out of the base glass and built in speed booster, True Lens Services opted to rehouse the Mamiya 645 with the new LPL mount. This makes the TLS Mamiya 645 with Built In Speed Booster a perfect match for the Alexa Mini LF, some focal lengths even still achieving coverage on the newer 65mm sensor cameras currently available.

Including 8 focal lengths, from 17mm–107mm.

Available for rental at The Vision House