FOR SALE: Two Rare Lenses!!!

[George A.]

Hi!

I am selling two nice and rather rare lenses, as follows:

- A KINOPTIK TEGEA 9.8mm 35mm format WIDE ANGLE LENS

It covers 4K just fine. It's incredibly wide while rectiliniar at the same time. I won't go into many details as I will probably sell it to someone who knows precisely what this fantastic lens is, and what this baby can do. Amazing, rare wide-angle for someone who misses such a lens from his or her kit.

The lens comes in Arri Standard Mount. It can be extremely easily converted to Arri PL mount, through a simple Arri Standard to Arri PL adapter (either quick release or with screws). For whoever wishes, I can include an Arri Standard to BNCR mount adapter, with set screws (in case you have a BNCR mount film camera or RED).

Very fast for such a wide lens - the aperture ring opens to T2.3, although on the lens itself it says F1.8 and Visual Products lists this as a T2 lens (http://visualproducts.com/storeProductDetail03.asp?productID=93&Cat=8&Cat2=15&Cat3=24). This Kinoptik Tegea also features a rear drop-in filter for 2x2 sized filters.

SOLD


- AN ANGENIEUX 12-240mm 16mm format ZOOM LENS

A rare zoom that has an amazing range of 20X. Again, for those who know rare, special lenses. I checked it on RED and it covers 2K just fine. Keep it like this and use it for 2K, taking advantage of the great zoom range. Or add a simple 2X extender and turn this into a wonderful 20X Zoom for the 35mm format (or 4K for RED)!. Many Angenieux 12-240mm lenses went through this rather cheap conversion, and ended up as a 25-500mm zoom lens for the 35mm format. I added a 2X converter myself to check (I don't have one available) and the lens covered 4K on RED throughout its entire range. The zoom range is simply fantastic!

The lens comes in Arri Bayonet, again very simple to adapt to PL with a simple converter. The T-stop is T4.2.

Visual Products sells this for $1,500, I will sell it for only $1000.

Note: reduced to only $750 for a few days.





Both lenses ship from New York City. If interested, e-mail me at:

eastco@gmail.com

Thank you for your interest! Please see pics below.

All the best,
George

 

[George A.]

Last photo of the Zoom lens:

 

[Rudi Herbert]

George,

Check the photos please, they don't show on my computer.

 

[David (dudi) Namir]

The zoom is in Arri bayonet mount and will need a PL mount adapter.
Other wise this zoom is very nice one (don;t know this specific one)

 

[George A.]

The pics apparently show up fine. If anyone else experiences problems, please let me know.

Yes, the zoom lens - as stated - requires a bayonet to PL adapter - it is relatively cheap and can be found extremely easily.

The TEGEA KINOPTIK is tentatively SOLD.

The ANGENIEUX 12-240mm 20X zoom is still available. Lithops, you are right, it is a very nice lens...

 

[George A.]

Everybody knows that these two lenses were a favorite of Stanley Kubrick. For fun, I am attaching several stills taken from three of his movies, showing what these lenses can do under the hands of a master.


The KINOPTIK TEGEA 9.8mm was used extensively by Kubrick on many of his projects. Here, I am illustrating its use on The Shining (stills 1, 2 and 3) and A Clockwork Orange (stills 4 and 5).

 

[George A.]

The Angenieux 20X Zoom (converted with a 2X adapter) was the single, most important lens on Barry Lyndon (well, maybe alongside the famous F0.7 lens). The slow, extremely long tracking zooms remain the main feature of this amazing film. I am including here two of the numerous long zooms in the movie, by showing the first and last frame of a continuous zoom movement (stills 1 and 2, then 3 and 4).






Thanks for looking!

Note: Of course, I should add, the copyright for all of these stills belongs to WARNER BROS. I am only posting them within the limits of fair use, and only as artistic examples.

 

[David Rasberry]

Thanks for the pix. Do you have any RED 2k samples?

I would jump on the 12-240, but I already have one. Can't wait to see how it performs on a Scarlet 2/3".

 

[George A.]

The KINOPTIK TEGEA 9.8mm lens has been SOLD.

The Angenieux 12-240mm 20X Zoom is still available.

 

[George A.]

I am lowering the price of my Angenieux 12-240mm 20X zoom to $900. In addition, I am shipping for free in the Continental US.

PM me if you want to take advantage of this bargain. First serious buyer gets this rare lens!

Thanks for looking!

George

 

[George A.]

Edited

 

[George A.]

I am lowering the price of this lens to only $800. Last price reduction.

This is really a bargain. Only serious PMs and e-mails.

eastco@gmail.com

Thanks!

 

[John Burnley]

20X zoom for BARRY LYNDON

20X zoom for BARRY LYNDON

The Angenieux 20X Zoom (converted with a 2X adapter) was the single, most important lens on Barry Lyndon (well, maybe alongside the famous F0.7 lens). The slow, extremely long tracking zooms remain the main feature of this amazing film. I am including here two of the numerous long zooms in the movie, by showing the first and last frame of a continuous zoom movement (stills 1 and 2, then 3 and 4).

View attachment 1738 View attachment 1739

View attachment 1740 View attachment 1741


Thanks for looking!

Note: Of course, I should add, the copyright for all of these stills belongs to WARNER BROS. I am only posting them within the limits of fair use, and only as artistic examples.

Just to set the record straight, a little research has revealed the 12-240mm Angenieux 16mm lens (with converter) was not likely used to shoot anything in BARRY LYNDON. Kubrick had a custom lens built for this project:

http://www.visual-memory.co.uk/sk/ac/len/page1.htm

For CLOCKWORK it's stated in the above article that he had rented a 20:1 lens (unspecified) from Samuelsons. That could have been a 12-240 with converter or something else.

 

[George A.]

Dear John,

Stanley Kubrick hired Ed DiGiulio from Cinema Products to convert the Angenieux 12-240mm zoom lens for BARRY LYNDON. Ed DiGiulio simply re-named the finished converted lens "Cine-Pro 24-480mm lens".

Now the record is set straight.

 

[John Burnley]

Dear John,

Stanley Kubrick hired Ed DiGiulio from Cinema Products to convert the Angenieux 12-240mm zoom lens for BARRY LYNDON. Ed DiGiulio simply re-named the finished converted lens "Cine-Pro 24-480mm lens".

Now the record is set straight.

George,

What are you basing this information on? Kubrick had virtually unlimited funds at the time of BARRY LYNDON to explore for exotic optics and the 12-240 was likely not the only 20:1 at that time anyway. The article does not make it sound like the Cine Pro was merely a conversion of a pre-existing lens. Unfortunately we cannot ask Ed any more than Stanley at this time for clarification.

John

 

[George A.]

The article does not make it sound like the Cine Pro was merely a conversion of a pre-existing lens. Unfortunately we cannot ask Ed any more than Stanley at this time for clarification.

Dear John,

Did you even read the article on Barry Lyndon? Allow me to quote from it:

"What followed was a series of phone calls, telexes, and letters between Kubrick and myself and between me and the Angenieux Corporation, who were, in fact, the suppliers of the basic zoom components for all of these 20-to-1 zoom lenses."

For Barry Lyndon, he used the 12-240mm with a 2X extender. For the opening shot of A Clockwork Orange, he used the same lens, this time with a 1.6X converter. I am quoting from another article that appeared in American Cinematographer and which can be found on its page (http://www.theasc.com/magazine/oct99/violence/pg2.htm). In it, Ed DiGiulio speaks specifically about the Angenieux 20x zoom, which he will naturally re-use for Barry Lyndon:

"Stanley started chatting with me about getting a 20:1 zoom lens, and I said, ’We could do it,’" DiGiulio has reported. He explained to Kubrick that his company could take an Angenieux 16mm 20:1 zoom and put a 2x extender behind it so that it would cover the 35mm format. However, there would be a loss of two stops of light. "The next day I get a telex that’s a yard long in which he explains to me that the 35mm format he’s shooting in is 1.66:1," DiGiulio remembered. "Then he recites Pythagorean theorem to show me how X squared plus Y squared equals the diagonal root of the sum of the squares—and to point out that [in] going up from a 16mm format, I didn’t need a 2x extender, that I could do it with a 1.61x. Therefore, I didn’t have to lose two stops—maybe a stop or stop and a half. Here he is lecturing me, and I’m saying, ’Why this smart ass, another one of these wild-ass directors.’ I called my old buddy Bern Levy, who was working for Angenieux at the time, and I said, ’Bern, I’ve got this wacko director who wants to do this.’ Bern said, ’Well, you know, Ed, as a matter of fact we do have a 1.6x extender.’ And I said, ’Oh, shit.’ This extender existed for some other application, but the bottom line is that I was able to take a 16mm zoom lens, put this extender on it, and give Stanley the exact lens he wanted."

The Cine-Pro T9 24-480mm zoom lens is no more than a conversion to the 35mm format of the Angenieux 12-240mm lens. 2X extender added, re-marking of the t-stops and focus marks and that's it. I have personally played with one of the original Cine-Pro zooms once and it is a re-housed Angenieux 12-240mm lens, period. Putting on the housing "Cine-Pro" doesn't change anything, it is just a re-branding. Ed did it since converting from one format to another was not something extremely common in those days. Today, it's way more common: Visual Products does exactly the same thing for you, without the re-branding (including the 12-240mm):

http://visualproducts.com/services03.asp?ID=94&Cat=92

the 12-240 was likely not the only 20:1 at that time anyway.

John

Read above. The Angenieux 12-240mm lens was the only 20x zoom at that time. Since you keep challenging this statement, please point us to the other existing 20x zooms at that time!

Thanks John! Hopefully, you'll stand corrected.
George

 

[John Burnley]

Dear John,

Did you even read the article on Barry Lyndon? Allow me to quote from it:

"What followed was a series of phone calls, telexes, and letters between Kubrick and myself and between me and the Angenieux Corporation, who were, in fact, the suppliers of the basic zoom components for all of these 20-to-1 zoom lenses."

For Barry Lyndon, he used the 12-240mm with a 2X extender. For the opening shot of A Clockwork Orange, he used the same lens, this time with a 1.6X converter. I am quoting from another article that appeared in American Cinematographer and which can be found on its page (http://www.theasc.com/magazine/oct99/violence/pg2.htm). In it, Ed DiGiulio speaks specifically about the Angenieux 20x zoom, which he will naturally re-use for Barry Lyndon:

"Stanley started chatting with me about getting a 20:1 zoom lens, and I said, ’We could do it,’" DiGiulio has reported. He explained to Kubrick that his company could take an Angenieux 16mm 20:1 zoom and put a 2x extender behind it so that it would cover the 35mm format. However, there would be a loss of two stops of light. "The next day I get a telex that’s a yard long in which he explains to me that the 35mm format he’s shooting in is 1.66:1," DiGiulio remembered. "Then he recites Pythagorean theorem to show me how X squared plus Y squared equals the diagonal root of the sum of the squares—and to point out that [in] going up from a 16mm format, I didn’t need a 2x extender, that I could do it with a 1.61x. Therefore, I didn’t have to lose two stops—maybe a stop or stop and a half. Here he is lecturing me, and I’m saying, ’Why this smart ass, another one of these wild-ass directors.’ I called my old buddy Bern Levy, who was working for Angenieux at the time, and I said, ’Bern, I’ve got this wacko director who wants to do this.’ Bern said, ’Well, you know, Ed, as a matter of fact we do have a 1.6x extender.’ And I said, ’Oh, shit.’ This extender existed for some other application, but the bottom line is that I was able to take a 16mm zoom lens, put this extender on it, and give Stanley the exact lens he wanted."

The Cine-Pro T9 24-480mm zoom lens is no more than a conversion to the 35mm format of the Angenieux 12-240mm lens. 2X extender added, re-marking of the t-stops and focus marks and that's it. I have personally played with one of the original Cine-Pro zooms once and it is a re-housed Angenieux 12-240mm lens, period. Putting on the housing "Cine-Pro" doesn't change anything, it is just a re-branding. Ed did it since converting from one format to another was not something extremely common in those days. Today, it's way more common: Visual Products does exactly the same thing for you, without the re-branding (including the 12-240mm):

http://visualproducts.com/services03.asp?ID=94&Cat=92




Read above. The Angenieux 12-240mm lens was the only 20x zoom at that time. Since you keep challenging this statement, please point us to the other existing 20x zooms at that time!

Thanks John! Hopefully, you'll stand corrected.
George

Dear George,
Thank you very much for taking the time to answer my questions. From the description in THE AMERICAN CINEMATOGRAPHER article which I did read when it first came out (as I was a subscriber then) and re-read the online version prior to posting the link, the 20:1 zoom lens "made" by Cinema Products Corp. "appeared" to be a unique from the ground up design using Angenieux components (since it was not stated to be otherwise therein). That was my mistake of misinterpretation of Ed DiGiulio's article.

The second article you quote from refers to CLOCKWORK ORANGE (and this information is good to know unto itself). I had seen a posting somewhere that the CLOCKWORK 12-240mm was a rental from Samuelson's. So that matter is cleared up.

George, your stating that you've handled the Cine-Pro lens yourself and that it's a 12-240mm with 2x converter and new housing added - no more, no less - is conclusive for me.

The slow zoom=outs in BARRY LYNDON are amazing! I've seen the movie in a theater and the sharpness of those zoom landscapes is just terrific.

George, I do hope you find a buyer for your fine lens and apologize if my prior words seemed overly harsh. Thank you again for setting the record straight - I do stand corrected.

Peace,
John

 

[Don King]

Interesting discussion, the Angie is not so rare anyway. I love Angies.

 

[George A.]

BUMP

The 20X zoom is still available for an amazing price - only $800.

Free shipping in US.

 

[Kobe Van Steenberghe]

Sorry to hijack this tread, but anyone got an idea where you can find a 2X extender for the angenieux 12-240mm?

Really nice lens and good price.