Uncompromising Natural Images
The SUMMILUX-C lenses allow the subject to be captured as you see it without significant color temperature shifts or loss of clarity. All colors retain their natural look and feel with special care being shown to skin tones to keep them humane but without looking over sharp or flat. It’s a characteristic called creamy sharpness that can be seen as well as felt in an image.
The Set
The SUMMILUX-C cine lenses are comprised of 12 focal lengths from 16 mm to 135 mm.
Focusing
The biggest complaint about 35 mm cinema lenses has always been their large size intended to accommodate a focus ring with more witness marks.
The SUMMILUX-C lenses feature a patented focusing mechanism that eschews the logarithmic focusing of the past by expanding the focus scale in the most critical range.
Fast, compact and lightweight
At T 1.4 and averaging only 1.7 kg per lens, the SUMMILUX-C lenses are the smallest set of fast aperture, purpose-built prime lenses available for cinematography. Their patent focus design allows for a long focus throw even on these compact lenses.
Size
Their unique design allows these cine lenses to be far smaller than any existing lenses below T2.0. At just 5.6” (142 mm) long and weighing between 3.5 and 4 pounds (1.6-1.8 kg), lens changes are easier and safer than ever, which is welcome news for camera assistants and hurried productions. Smaller lenses also result in smaller, lighter camera packages and cases as well as significantly smaller rigs.
Light Path
The use of exotic aspherical elements in each SUMMILUX-C lens creates a telecentric path of light from the rear element to the sensor. Telecentricity and aspheric correction not only reduce chromatic aberrations and color fringing, but also create a more even illumination across the entire field. Add in an already large image circle and the SUMMILUX-C lenses are the perfect companions for larger digital sensors like RED’s Dragon sensor.
Shot with SUMMILUX - C
Check out these films that were all shot on our SUMMILUX-C lenses.
SAINT LAURENT - SELF 05 - WONG KAR WAI
Technical Specifications
Focal Length (mm) | 16 mm | 18 mm | 21 mm | 25 mm | 29 mm | 35 mm | 40 mm | 50 mm | 65 mm | 75 mm | 100 mm | 135 mm | |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Aperture | T1.4 - T22 - full close (except 135mm T 1.4 - T16 - full close) | ||||||||||||
Image Circle | 33 mm | ||||||||||||
Close Focus (ft) | 1'4" | 1’6" | 1’3" | 1’3" | 1’6" | 1’6" | 1’6" | 2’ | 1’6" | 2’6" | 3’3" | 4’1" | |
Close Focus (m) | 0.45 | 0.45 | 0.38 | 0.38 | 0.45 | 0.45 | 0.45 | 0.6 | 0.45 | 0.79 | 0.99 | 1.25 | |
Horizontal Angle of view "Super 35" 24.9 mm x 18.7 mm | 75.8º | 69.3º | 61.3º | 52.9º | 46.5º | 39.2º | 34.6º | 28º | 21.7º | 18.9º | 14.2º | 10.5º | |
Weight (lb) | 3.8 | 3.6 | 3.6 | 4.0 | 3.7 | 3.6 | 3.6 | 3.9 | 3.7 | 3.5 | 3.5 | 7.4 | |
Weight (kg) | 1.7 | 1.6 | 1.6 | 1.8 | 1.7 | 1.6 | 1.6 | 1.8 | 1.7 | 1.6 | 1.6 | 3.4 | |
Length (in / mm) | 5.59" / 142 | 5.59" / 142 | 5.59" / 142 | 5.59" / 142 | 5.59" / 142 | 5.59" / 142 | 5.59" / 142 | 5.59" / 142 | 5.59" / 142 | 5.59" / 142 | 5.59" / 142 | 5.59" / 142 | 7.58" / 192.5 |
Lens Mount | PL - Titanium | ||||||||||||
Iris Rotation | 16 mm - 100 mm 97.8° / 135 mm 98° | ||||||||||||
Iris Rotation | Individually measured and engraved as it varies from focal length to focal length | ||||||||||||
Front Diameter | 95 mm / 3.7” (except 135mm - 4.5” / 114 mm) | ||||||||||||
Color Balance Between Lenses | Matched Color | ||||||||||||
Breathing | No Breathing | ||||||||||||
Front Filter | 16 mm - 100 mm M 92 x 1 / 135 mm M 112 x 1 | ||||||||||||
Rear Filter | Via net holder | ||||||||||||
Matched Focus/Iris Ring Locations | All focal lengths | ||||||||||||
Matched Dimensions in Set | All focal lengths (except 135 mm) | ||||||||||||
Extras
Articles
American Cinematographer
Gemini Man (2019)
SUMMILUX-C
American Cinematographer
Ghost in the Shell (2017)
SUMMILUX-C
American Cinematographer
Giri/Haji (2019)
SUMMILUX-C
American Cinematographer
Good Omens (2019)
SUMMILUX-C
American Cinematographer
It Chapter Two (2019)
SUMMILUX-C
DEFINITION
It Chapter Two (2019)
SUMMILUX-C
American Cinematographer
Mank (2020)
SUMMILUX-C
Cinematography World
Mank (2020)
SUMMILUX-C
ICG Magazine
Monsterland (2020)
SUMMILUX-C
American Cinematographer
Riverdale (2017)
SUMMILUX-C
ICG Magazine
Russian Doll (2019)
SUMMILUX-C
American Cinematographer
Six (2017)
SUMMILUX-C
ICG Magazine
Succession (2018)
SUMMILUX-C
American Cinematographer
The Captain (2017)
SUMMILUX-C
FDTimes
Wolf Hall (2015)
SUMMILUX-C
ICG Magazine
Grand Hotel (2019)
SUMMILUX-C
American Cinematographer
The Lost City of Z (2016)
SUMMILUX-C
American Cinematographer
12 Monkeys (2015)
SUMMILUX-C
American Cinematographer
Ballers (2015)
SUMMILUX-C
American Cinematographer
Bloodline (2015)
SUMMILUX-C
American Cinematographer
Deepwater Horizon (2016)
SUMMILUX-C
American Cinematographer
7 Days in Entebbe (2018)
SUMMILUX-C
American Cinematographer
A Wrinkle in Time (2018)
SUMMILUX-C
American Cinematographer
Allied (2016)
SUMMILUX-C
American Cinematographer
Avengers: Infinity War (2018)
SUMMILUX-C
American Cinematographer
Chicago Justice (2017)
SUMMILUX-C
American Cinematographer
Ash vs Evil Dead (2015)
SUMMILUX-C
American Cinematographer
Meridian (2016)
SUMMILUX-C
American Cinematographer
The Revenant (2015)
SUMMILUX-C
American Cinematographer
Jupiter Ascending (2015)
SUMMILUX-C
American Cinematographer
The Divergent Series: Insurgent (2015)
SUMMILUX-C
American Cinematographer
Little Favour (2013)
SUMMILUX-C
Cinematography World
Cruella (2021)
SUMMILUX-C
DEFINITION
Mank (2020)
SUMMILUX-C
Definition Magazine
Cruella (2021)
SUMMILUX-C
Cinefade
Mank (2020)
SUMMILUX-C
DEFINITION
Gemini Man (2019)
SUMMILUX-C
Resources
Find lenses near you
Find dealers in your area to rent or buy our lenses.
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