"YOUR PLACE OR MINE was the first time I had shot the Leitz SUMMILUX-C lenses on ARRI Alexa in UHD and I was happy to see that the lenses covered the sensor in 2.40:1. Given that the SUMMILUX-C are designed for Super 35 coverage, the image actually got quite interesting out on the edges. It introduced a little more character, and because I leaned toward a shallower depth of field on this film it accentuated the effect.”
Florian Ballhaus, ASC
Award Winning Lenses
At the time of their release the Leitz SUMMILUX-C prime lenses were the most revolutionary lenses designed for cinematography in decades, quickly earning a Scientific and Engineering Award from the Academy of Motion Pictures Arts & Sciences® in 2015. Arriving on the cusp of the transition into mainstream digital cinematography, they incorporated design elements for both.
The most eye-catching characteristic is their relatively compact size given their fast T1.4 aperture. Comparable high-speed Super 35 lenses at the time were almost twice as big and heavy. To make up for their small size, they feature a patented focus design to expand focus marks in the most critical areas and the markings from 6 feet to infinity on all lenses are consistently numbered and spaced.
Uncompromising Natural Images
The Leitz SUMMILUX-C lenses were designed to outperform every lens in the market with clarity, resolution, and accurate color rendition. Many unwanted aberrations like chromatic aberrations and breathing have been corrected out of the lenses using exotic aspherical elements and a design that makes the lenses telecentric with almost no distortion.
Telecentricity also contributes to the consistent performance across the entire field with illumination and resolution in the corners matching the center of the frame. The flat, clear field gives cinematographers a beautifully clear canvas on which to build their looks using lighting, filtration, and production design. The rich, warm skin tones and gentle focus roll off of the Leitz SUMMILUX-C lenses mean that talent always looks natural instead of clinical. While details remain sharp, skin tones of all hues take on a gentle, creamy softness.
Their larger-than-Super 35 image circle means most of the focal lengths also work well on full frame sensors at specific aspect ratios. In fact, as the lenses stretch to the edges of the frame more character is introduced to the image. The edge-to-edge performance of the LEITZ ZOOMs make them an ideal pairing when looking for companion zoom lenses.
The consistency of these lenses, from their matched size and focus/iris ring positions, to their consistent front diameters, to their matched color temperature, and even to their weight make the SUMMILUX-C lenses a go-to lens for cinematographers looking to capture the world as they see it.
The Set
The SUMMILUX-C cine lenses are comprised of 12 focal lengths from 16mm to 135mm.
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 1.7kg 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” (142mm) long and weighing between 3.5 and 4 pounds (1.6-1.8kg), 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
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Interviews
Technical Specifications
Focal Length (mm) | 16mm | 18mm | 21mm | 25mm | 29mm | 35mm | 40mm | 50mm | 65mm | 75mm | 100mm | 135mm |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
Aperture | T1.4 - T22 - full close (except 135mm T 1.4 - T16 - full close) | |||||||||||
Image Circle | 33mm | |||||||||||
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" 24.9mm x 18.7mm | 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 |
Lens Mount | PL - Titanium | |||||||||||
Iris Rotation | 16mm - 100mm 97.8° | 135mm 98° | |||||||||||
Focus Scale | Individually measured and engraved as it varies from focal length to focal length | |||||||||||
Front Diameter | 95mm / 3.7” (except 135mm - 4.5” / 114mm) | |||||||||||
Color Balance Between Lenses | Matched Color | |||||||||||
Breathing | No Breathing | |||||||||||
Front Filter | 16mm - 100mm M 92 x 1mm | 135mm M 112 x 1mm | |||||||||||
Rear Filter | Via net holder | |||||||||||
Matched Focus/Iris Ring Locations | All focal lengths | |||||||||||
Matched Dimensions in Set | All focal lengths (except 135mm) | |||||||||||
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
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
DEFINITION
Mank (2020)
SUMMILUX-C
DEFINITION
Gemini Man (2019)
SUMMILUX-C
Cinefade
Mank (2020)
SUMMILUX-C
Cinematography World
Cruella (2021)
SUMMILUX-C
American Cinematographer
It Chapter Two (2019)
SUMMILUX-C
Definition Magazine
Cruella (2021)
SUMMILUX-C
DEFINITION
It Chapter Two (2019)
SUMMILUX-C
Resources
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