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- RTF Lenses and Filters
- Stands and Clamps
Grip, Lighting, Cords
RTF LENSES AND FILTERS Revised October 30, 2009
Subject to change without notice
Lens |
ID# |
Fits 35mm motion? |
Fits Arri Super 16? |
Fits CP-16 Super? |
Fits CP-16? |
Fits SB? |
Fits BL? |
Adapter Ring |
Filter? Retaining Ring? |
Angineaux 12-120mm Note: has scratches |
R07084 |
NO |
NO |
NO |
YES |
NO |
NO |
72N9 |
Series 9 filter Series 9 retaining ring |
Canon 12-120 MACRO |
R03213 |
NO |
NO |
NO |
YES |
NO |
NO |
72N9 |
Series 9 filter Series 9 retaining ring |
Angenieux 12-120 |
R08289 |
NO |
NO |
NO |
YES |
NO |
NO |
72N9 |
Series 9 filter Series 9 retaining ring |
Kinoptik 5.7mmT/2.3 |
R08271 |
NO |
NO |
NO |
NO |
NO |
NO |
Series 9 to 41/2”clamp on. Use 4 1/2” filters |
4 ½” filter 41/2” retaining ring |
Lens |
ID# |
Fits 35mm motion? |
Fits Arri Super 16? |
Fits CP-16 Super? |
Fits CP-16? |
Fits SB? |
Fits BL? |
Adapter Ring |
Filter? Retaining Ring? |
Angenieux 12-120 f/2.2 |
R08269 |
NO |
NO |
NO |
NO |
NO |
NO |
72N9 SCREW ON |
Series 9 filter Series 9 retaining ring |
Arri 50mm |
R01300 |
NO |
NO |
NO |
NO |
YES |
YES |
We don’t have any. |
We don’t have any. |
Angenieux 9.5-57mm T/1.9 |
R08270 |
NO |
NO |
NO |
NO |
NO |
NO |
67—SSLR9 CLAMP ON |
Series 9 filter Series 9 retaining ring |
Schneider 25mm prime f:1.5 THIS LENS CAN ONLY FIT THE ARRI SB !!!! |
R01299 |
NO |
NO |
NO |
NO |
YES |
NO |
The inside diameter of this lens is 50mm, threaded. U.T. does not own adapters to fit. |
We don’t have any. |
Lens |
ID# |
Fits 35mm motion? |
Fits Arri Super 16? |
Fits CP-16 Super? |
Fits CP-16? |
Fits SB? |
Fits BL? |
Adapter Ring |
Filter? Retaining Ring? |
Angenieux 9.5-57mm T/1.9 |
R08270 |
NO |
NO |
NO |
NO |
NO |
NO |
67—SSLR9 CLAMP ON |
Series 9 filter Series 9 retaining ring |
Heinz-Kilfit 40mm Macro (focus at 4”), f:28 |
R01301 |
NO |
NO |
NO |
NO |
YES |
YES |
Inside diameter of this lens is 50mm, threaded. We don’t have adapters that fit it. |
We don’t have any. |
Arri 5.7 |
R00379 |
NO |
NO |
NO |
NO |
YES |
NO |
Outside diameter is 50mm. No internal threads. We don’t have adapters to fit it. |
We don’t have any. Series 6 is too small – Series 7 is too large.. |
Lens |
ID# |
Fits 35mm motion? |
Fits Arri Super 16? |
Fits CP-16 Super? |
Fits CP-16? |
Fits SB? |
Fits BL? |
Adapter Ring |
Filter? Retaining Ring? |
Arri 5.7 |
R00380 |
NO |
NO |
NO |
NO |
YES |
NO |
Outside diameter is 50mm. No internal threads. We don’t have adapters to fit it. |
We don’t have any. Series 6 is too small – Series 7 is too large. |
Zeiss 35mm |
R05253 |
YES |
YES |
NO |
NO |
NO |
NO |
72M9 screw-on adapter ring |
Series 9 filter Series 9 retaining ring |
Zeiss 25mm |
R05252 |
YES |
YES |
NO |
NO |
NO |
NO |
75SSLR 9 Clamp-On adapter ring |
Series 9 + Series 9 retaining ring |
Zeiss 18mm |
R05251 |
YES |
NO |
NO |
NO |
NO |
NO |
80 SSLR 9 clamp-on ring |
Series 9 filter Series 9 retaining ring |
Lens |
ID# |
Fits 35mm motion? |
Fits Arri Super 16? |
Fits CP-16 Super? |
Fits CP-16? |
Fits SB? |
Fits BL? |
Adapter Ring |
Filter? Retaining Ring? |
Zeiss 50mm |
R05254 |
YES |
YES |
NO |
NO |
NO |
NO |
80 SSLR 9 clamp-on ring |
Series 9 filter Series 9 retaining ring |
Arri 25mm |
814647 |
NO |
YES |
NO |
NO |
NO |
NO |
takes 72M9 screw-on adapter ring and a series 9 retaining ring |
|
Arri 16mm |
814647 |
NO |
YES |
NO |
NO |
NO |
NO |
takes 72M9 screw-on adapter ring and a series 9 retaining ring, |
|
Arri 12mm |
814647 |
NO |
YES |
NO |
NO |
NO |
NO |
takes 72M9 screw-on adapter ring and a series 9 retaining ring |
|
Arri 9.5 |
814647 |
NO |
YES |
NO |
NO |
NO |
NO |
takes 72M9 screw-on adapter ring and a series 9 retaining ring |
|
Illumina* 16mm |
NO |
YES |
YES |
NO |
NO |
NO |
80SSLR9 clamp-on ring |
Series 9 filter Series 9 retaining ring | |
Illumina* 50mm |
NO |
YES |
YES |
NO |
NO |
NO |
80SSLR9 clamp-on ring |
Series 9 filter Series 9 retaining ring | |
Illumina* 25mm |
NO |
YES |
YES |
NO |
NO |
NO |
80SSLR9 clamp-on ring |
Series 9 filter Series 9 retaining ring | |
Illumina* 12mm |
NO |
YES |
YES |
NO |
NO |
NO |
80SSLR9 clamp-on ring |
Series 9 filter Series 9 retaining ring | |
Illumina* 8mm |
NO |
YES |
YES |
NO |
NO |
NO |
80SSLR9 clamp-on ring |
Series 9 filter Series 9 retaining ring | |
Illumina* 9.5 |
NO |
YES |
YES |
NO |
NO |
NO |
80SSLR9 clamp-on ring |
Series 9 filter Series 9 retaining ring |
*Illumina lenses for CP-16 Super-16 cameras will also fit Arri Super 16 NOTE: although these lenses may “fit” on the 35mm camera, they WILL NOT COVER THE WHOLE FRAME!!! These lenses WILL NOT fit regular CP-16 cameras either.
Arri BL
Although the Angineaux lens on the Arri BL can take series 9 filters, it is NOT possible to close the blimp. You could still use a series 9 filter but the matte box must be removed, leaving the blimp open and the camera noisy. The matte box in the blimp holds one 75mmX75mm (3X3) square filter. Stacking 3X3 filters is not possible with our equipment.
C MOUNT LENSES (Fit Bolex or Bell & Howell)
We do not have filters, adapter rings, lens shades, etc. to fit these lenses
Birns & Sawyer 250mm prime. F:4.5 UT# 179343 serial number 120580
75mm Macro, T=19
Kern R01987 serial number 1122283 T=1.9
Kern R02678 serial number 1131289
75mm
R02091 Bell & Howell T=2.5 serial number 174917
R02095 Kern/Yvar T= 2.8 serial number 441982
R02679 Kern T=1.9 serial number 112456
Yvar R05023 f2.8
50mm T=1.8
Cosmicar R02383
Cosmicar R02384
Cosmicar R02680
Kern R02681 serial number 752987
Cosmicar R02387
Cosmicar R02683
Kern R02685 T=1.4 serial number 1132147
Wollensak f 1.9 0795387
Kern-Paillard R04579 1:1.4 serial number 992679
35mm T=2.
Nikkor R04031 serial number 810603 1:2.8
26mm, T=1.9
Kern R02042 serial number 450176
Kern R02043 serial number 362312
25mm T=1.4
Kern R01984 serial number 1132145
Kern R01995 serial number 657163
Kern R02056 serial number 420921
Cosmicar R02094 no serial number
Kern R02853 serial number
Canon R02096 serial number 12833
Cosmicar R02374
Cosmicar R02375
Cosmicar R02376
Cosmicar R02377
Cosmicar R02378
Cosmicar R02379
Bell & Howell R02688 T=1.9
Bell & Howell R02689 T=1.9
Bell & Howell R02690 T=1.9
Soligor 223837 serial number 42638 T=1.9
Kodak Cine Ekton f=1.9 R03042
Som Berthiot 1:1.4 F=2.5 R06020
16mm, T=1.8
Kern R02090 serial number 35297
Kern R02686 serial number 388065
12.5mm
Cosmicar R02370
Cosmicar R02698
10mm T=1.6
Kern R02692 serial number 539855
Angineaux 5.9mm “fisheye” T=1.8
308228 serial number 1391739
Panasonic 12.5-75mm zoom
R03634 T=31:1.8
Kern 17-85 zoom T=3.5
R01982 serial number 112140
R01983 serial number 1130134
BAYONNET MOUNT LENS (For SBM Bolex ONLY)
Kern, vario-Switar 16-100mm T=1.9
R01989 serial number 1119213
R01992 serial number 113565
R01991 serial number 1116407
Lenses for Sony PD 170
Sony VCL-HG0758 X0.7wide angle lens
R05378
R05379
R05445
R05446
R05447
R06011
R06012
Lenses for Sony PD 150
Kenko KRW-065 PRO X0.65Wide conversion lens with clear filter
R05375
R05374
Lenses for Canon XL-1
3X wide angle zoom 3.4-10.2 1:1.8-2.2
683981
683982
683983
731985
FILTERS
Type |
We have these sizes |
Tiffen Says |
ND0.1 |
3X3 R08027 |
These filters reduce the amount of light passing through the camera lens without changing the color of the scene. They are especially useful in bright light conditions to help prevent overexposure. Neutral Density filters also allow proper exposure at a wider lens opening for reduced depth-of-field to highlight a key subject by making the foreground and/or background out of focus. Eliminates overly bright, washed-out images Balances exposure Controls depth-of-field Allows slower shutter speeds to produce blurred motion effects |
ND0.3 |
SERIES 9 R08056 R02323 R08050 3X3 R02397 4 ½” R00311 |
Eliminates overly bright, washed-out images Balances exposure Controls depth-of-field Allows slower shutter speeds to produce blurred motion effects These filters reduce the amount of light passing through the camera lens without changing the color of the scene. They are especially useful in bright light conditions to help prevent overexposure. Neutral Density filters also allow proper exposure at a wider lens opening for reduced depth-of-field to highlight a key subject by making the foreground and/or background out of focus. (f-stop increase 1) |
ND0.6 |
SERIES 9 R00284 R02325 3X3 R02398 4X4 R05860 4 ½” R00312 |
These filters reduce the amount of light passing through the camera lens without changing the color of the scene. They are especially useful in bright light conditions to help prevent overexposure. Neutral Density filters also allow proper exposure at a wider lens opening for reduced depth-of-field to highlight a key subject by making the foreground and/or background out of focus. Eliminates overly bright, washed-out images Balances exposure Controls depth-of-field Allows slower shutter speeds to produce blurred motion effects (f-stop increase 2) |
Type |
We have these sizes |
Tiffen Says |
ND0. 9 |
Series 9 R08049 3X3 R02399 |
These filters reduce the amount of light passing through the camera lens without changing the color of the scene. They are especially useful in bright light conditions to help prevent overexposure. Neutral Density filters also allow proper exposure at a wider lens opening for reduced depth-of-field to highlight a key subject by making the foreground and/or background out of focus. Eliminates overly bright, washed-out images Balances exposure Controls depth-of-field Allows slower shutter speeds to produce blurred motion effects (f-stop increase 3) |
POLARIZER |
Series 9 R00298 R00299 R01881 3X3 R01390 4X$ R08346 4 ½” R00309 |
Produces deeper blue skies minimizes reflections in black & white and color photography ideal when shooting through water or glass Combine a Polarizer with a Red 25 for dramatic black & white landscapes Use the Polarizer with the Enhancing filter for more dramatic effects |
FLB |
Series 9 R00307 4 ½” R00315 |
Provides correct color, removing harsh green cast caused by fluorescent bulbs. Use FL-D with daylight film and FL-B with tungsten film Pleasing skin tones under fluorescent lighting without flash True-to-life color rendition Essential in any environment where ambient light source is fluorescent |
LOW CON 1 |
Series 9 R01880 |
Controlling contrast is difficult in bright sunlit exteriors. Exposing for either highlights or shadows will leave the other severely under-or over-exposed. Low Contrast filters create a small amount of "localized" flare near highlight areas within the image. This reduces contrast by lightening nearby shadow areas, leaving highlights almost unchanged. |
Type |
We have these sizes |
Tiffen Says |
LOWCON 3 |
Series 9 R00306 |
Lowers contrast, mutes colors, white areas remain, blacks become lighter in high contrast lighting. use for portraits and landscapes. |
SKY 1A |
Series9 R00300 R04585 |
Use outdoors in open shade and on overcast days to reduce blue and add warmth to scene Safeguard your lens and absorb UV light. Film and video are more sensitive to UV light than our eyes are. This often shows up as a bluish cast in images, especially shots from high altitudes and long distances, particularly over water. Ultra Violet filters are available in a variety of UV absorption levels. Absorbs almost half of UV light Popular general use filter Pink-tinted for added warmth and better colors Especially helpful when shooting in outdoor open shade and on overcast days |
HAZE 1 |
Series9 R00301 R00302 |
Safeguard your lens and absorb UV light. Film and video are more sensitive to UV light than our eyes are. This often shows up as a bluish cast in images, especially shots from high altitudes and long distances, particularly over water. Ultra Violet filters are available in a variety of UV absorption levels. Reduces excessive blue by absorbing almost three quarters of UV light. Best general purpose UV control Eliminates UV problems from most situations where increased haze tends to wash out color and image clarity |
ULTRA CON 1 |
Series 9 R02656 3X3 R02401 R08028 4X4 R02400 R08022 |
Use it where contrast control is needed without any other effect on sharpness or highlight flare being apparent. Works with surrounding ambient light Captures details lost in shadows Lowers contrast evenly throughout image No flare or halation Lets you "see" more |
Type |
We have these sizes |
Tiffen Says |
85 |
Series 9 4X4 3X3 4 ½” R02102 R02103 R02104 6.6X6.6 R08545 |
CONVERTS 5500 TO 3400 (F STOP INCREASE 2/3) Each of our sync sound film cameras comes with one of these |
85B |
3X3 R01391 series 9 R00285 R00289 R08054 4 ½” R00313 |
CONVERTS 5500 TO 3200 (F-STOP INCREASE 2/3) |
85N3 |
Series 9 R00293 4 ½” R00314 |
CONVERTS 5500 TO 3400 WITH ND.3 (F-STOP INCREASE 1 2/3) |
85N6 |
Series 9 R08024 |
CONVERTS 5500 TO 3400 WITH AND ND.6 (F-STOP INCREASE 2 2/3) |
85BN6 |
Series 9 R00294 |
CONVERTS 5500 TO 3200 WITH AN ND6 (F-STOP INCREASE 2 2/3) |
Type |
We have these sizes |
Tiffen Says |
85N9 |
Series 9 R00296 4 ½” R02100 R02101 6.6X6.6 R08546 |
CONVERTS 5500 TO 3400 WITH AN ND.9 (F-STOP INCREASE 3 2/3) Each of our sync sound film cameras comes with one of these |
YELLOW#8 |
4X4 R02328 3X3 R02327 Series 9 R02326 |
FOR B&W FILM This medium yellow filter offers the most correct tonal range contrast to produce natural clouds against blue skies. Although originally intended for use with black and white film, these filters can also be used as a creative tool in color imaging. |
ORANGE #16 |
4X4 R02332 3X3 R02519 Series 9 R02672 |
FOR B&W FILM Although originally intended for use with black and white film, these filters can also be used as a creative tool in color imaging. Deeper than Yellow 15 for more dramatic effects |
WHITE PRO MIST 1/2 |
Series 9 R05852 |
Pro-Mist® This popular motion picture effect creates a special "atmosphere" by softening excess sharpness and contrast. It generates a pearlescent halo around highlights. Lighter grades are useful in toning down the excessive sharpness and contrast of contemporary film and lens combinations. Great for portraits and scenics Maintains focus Often used to mute colors for exquisite pastel tones |
Type |
We have these sizes |
Tiffen Says |
WHITE PRO MIST 1/4 |
Series 9 R05853 |
Pro-Mist® This popular motion picture effect creates a special "atmosphere" by softening excess sharpness and contrast. It generates a pearlescent halo around highlights. Lighter grades are useful in toning down the excessive sharpness and contrast of contemporary film and lens combinations. Great for portraits and scenics Maintains focus Often used to mute colors for exquisite pastel tones |
BLACK PRO MIST 1 |
SERIES 9 R02416 3X3 R08294 4X4 R02331 |
Offers all the benefits of the Pro-Mist filter in a more subtle form. Highlight flares are controlled. Contrast is lowered, but with less lightening of shadows for a more delicate effect Creates a soft light "pastel" effect Delicate effect with contained highlight flare |
BLACK PRO MIST 2 |
SERIES 9 R02417 3X3 R02414 4X4 R02333 |
Offers all the benefits of the Pro-Mist filter in a more subtle form. Highlight flares are controlled. Contrast is lowered, but with less lightening of shadows for a more delicate effect Creates a soft light "pastel" effect Delicate effect with contained highlight flare |
BLACK PRO MIST 3 |
SERIES 9 R02657 3X3 R02415 4X4 R02334 |
Offers all the benefits of the Pro-Mist filter in a more subtle form. Highlight flares are controlled. Contrast is lowered, but with less lightening of shadows for a more delicate effect Creates a soft light "pastel" effect Delicate effect with contained highlight flare |
BLACK PRO MIST 1/8 |
4X4 R05857 |
Offers all the benefits of the Pro-Mist filter in a more subtle form. Highlight flares are controlled. Contrast is lowered, but with less lightening of shadows for a more delicate effect Creates a soft light "pastel" effect Delicate effect with contained highlight flare |
Type |
We have these sizes |
Tiffen Says |
CLEAR/ TOBACCO 2 SE |
4X4 R05859 |
Transform an average sunrise or sunset into something spectacular or convert a dull, washed-out sky to a breathtaking blue. No other filter has done as much to improve landscape photography as the graduated filter. Add color selectively while leaving the rest of the scene unaffected Half color, half clear with a graduated density transition for smooth blending into the scene Use in combination, with one affecting the upper half of the image, the other affecting the lower half. |
SEPIA 2 |
4X4 R05858 |
Sepia filters create a warm, brown glow offering "turn of the century" nostalgia Sepia #3 adds a light fog effect to soften mood |
CORAL 1 |
SERIES 9 R08053 |
A variety of solid-color versions of our Color-Grad® filter colors provide subtle or strong color for creating many special effects. |
CORAL 1/2 |
SERIES 9 R08055 |
A variety of solid-color versions of our Color-Grad® filter colors provide subtle or strong color for creating many special effects. |
ENHANCING |
4X4 R02329 Series 9 R02330 3X3 R02697 |
Makes reds, rust browns and oranges "pop", with minimal effect on other colors. Perfect for fall foliage, earthtone rock formations, architecture, woodwork, faded rustic barns and any photos where red, brown and orange subjects should be enriched or appear more intense. Creates brighter, more saturated reds, rust browns and oranges Use with Polarizer for dramatic outdoor effects |
Fog |
Series 9 R08065 |
Mimics the effect of natural fog Creates a soft glow and flare Produces a warm romantic tone Lighter grades take the edge off excess contrast and sharpness Heavier grades create unnatural effects, as in a fantasy sequence or a dreamlike aura of mystery |
Double fog |
Series 9 R08052 |
Produces a more natural heavy fog effect where objects remain sharper and contrast is substantially reduced |
Type |
We have these sizes |
Tiffen Says |
Star 4-point |
Series 9 R08063 |
Star Effects Generate photographic excitement with these dazzling star effects created from original point light sources or bright reflections. Star effect will become more pronounced with a brighter, larger source. Filter may be rotated for creative control.
|
Additional information about our filters
Series 9 filters fit most of our 16mm film camera lenses. An adapter and a retaining ring may be required. Check the description of the lens you are using the filter with.
3X3 These fit the Arri BL and the CP-16 SUPER 16 Matte Boxes ONLY. You cannot stack 3X3 filters in our matte boxes.
FILTERS 4X4 These fit most the Arri SR Super 16 Matte Boxes. You cannot stack 4X4 filters in our matte boxes.
4 ½” round could fit most lenses that are series 9 IF you can reserve the series 9 to 4 ½” adapter ring to go with it.
4X5 Panavision Effects Filter with pouch 4X5 mattebox WARNING: I COST $400. DO NOT SCRATCH, CHIP, BREAK OR LOSE ME!
Revised Oct. 2009
