Please see some featured lenses below…

Not sure which lens to choose? Click on the CVP logo to check your lens coverage…

Full Frame Cooke Spherical – Optimised for film and digital cameras reducing lateral colour aberration and providing an organic bokeh, S7/i FF prime lenses are designed to provide maximum performance at full aperture with superior control of flare, distortion and spherical aberration

25mm, 32mm, 40mm, 50mm, 75mm, 100mm, 135mm, all T2

The Supreme Prime lenses are colour-matched across the full range and most feature a fast T-stop of T1.5.

21mm, 25mm, 29mm, 35mm, 40mm, 50mm, 65mm, 85mm, 100mm, 135mm, all T1.5

Full-Frame Canon prime lenses with a specially designed ‘cinematic’ look

All T1.5 unless stated: 14mm (T3.1), 20mm, 24mm, 35mm, 50mm, 85mm, 135mm (T2.2)

1970’s Full Frame glass rehoused for modern cinematography

14mm, 20mm, 24mm, 28mm, 35mm, 45mm, 50mm, 55mm, 85mm, 100mm, 135mm, 200mm

Vega lenses were developed with filmmakers in mind in response to the market’s growing demand for lenses capable of covering the larger full frame digital camera format. TLS’s latest development, Vega, is a new series of Full Frame cine prime lenses. Vega exists in a set of ten lenses, including 20mm, 24mm, 35mm, 50mm, 58mm, 85mm, 105mm and 135mm focal lengths, ranging from T1.5 to T2.

The Vega lenses, although sharp, have a beautiful smooth look with a tiny amount of fall off towards the corners. They also have a stunning bokeh as a result of their 16 blade circular iris and when wide open, can offer a very narrow depth of field.

These lenses are designed with floating elements so TLS have used their dual cam system to allow the optimum optical performance while still allowing some character. The housing is the same process as their renowned rehousing process. Therefore, there is 300 degrees focus rotation and solid stainless steel stops on both focus and iris movement. These lenses have accurate and repeatable dual focus scales, available in both imperial and metric.

The PL mount is shimmable and the focus and iris gears are in the same position in relation to the PL mount throughout the range. This makes changing focal lengths on set a much smoother process.

20mm, 24mm, 35mm, 50mm, 58mm, 85mm, 105mm and 135mm

The Anamorphic/i Super35 harness all the anamorphic lens characteristics demanded by filmmakers today and historically for film and digital image capture. They encompass the Cooke Look with distinctive oval bokeh and greatly minimised variation in astigmatism, through focus and reduced lateral colour to maximise image quality with digital cameras

25mm, 32mm, 40mm, 50mm, 65mm (Macro), 75mm, 100mm, 135mm, 180mm, 300mm

1.5x Full-Frame Anamorphic Lenses, balancing vintage character with modern sensor performance and design

36mm, 42mm, 72mm

The lightest and most compact anamorphic zoom in the market: 2.2 kg / 210 mm long. Perfect homogeneity of colour, contrast, resolution & low distortion typical of the Optimo series. T4, 2:1 Squeeze. CF 25in.

The Master Prime lenses have been jointly developed by ARRI and ZEISS. They are both fast and have an optical performance surpassing that of all standard speed primes. Master Prime lenses open up new creative opportunities of film making.

14mm, 18mm, 21mm, 25mm, 27mm, 32mm, 35mm, 40mm, 50mm, 75mm,, 100mm, 135mm All T1.3

A bonafide classic! Cooke S4/i optics offer superb optical and mechanical performance, control of flare, distortion, veiling glare and spherical aberrations at full aperture, with the cam-type focus mechanism allowing for smooth focus adjustments.

12mm, 14mm, 16mm, 18mm, 21mm, 25mm, 27mm, 32mm, 35mm, 40mm, 50mm, 65mm, 75mm, 100mm, 135mm, 150mm, 180mm (all T2)

Ultra Prime Lenses retain their excellent image quality even at close focus across the whole Super 35 frame. They are lightweight standard speed lenses that are a perfect optical match to the higher speed Master Prime Lenses

14mm, 16mm, 20mm, 24mm, 32mm, 40mm, 50mm, 65mm, 85mm, 100mm, 135mm, All T1.9

Fast 1990’s movie glass – Zeiss Super Speeds are high-quality, T1.3 PL-mounted lenses perfect for all 35mm film and digital cinematography cameras. Featuring a very compact mechanical and optical design, their compact size and light weight mean they are well-suited for handheld & gimbal filming

18mm, 25mm, 35mm, 50mm, 65mm, 85mm, all T1.3. Also 100mm & 135mm High Speeds (T2.1) available to complement the set

XEEN aims to deliver superior optics, for maximum user satisfaction. With bright aperture and outstanding optical performance for 4K+, focus are free to concentrate on the only thing that matters- realising their creative power. A masterpiece of both form and function, made to meet the needs of professional video-cinema producers and creators, XEEN blazes a new trail in the professional lens market. Expand your horizons with XEEN.

14mm (T3.1), 24mm (T1.5), 35mm (T1.5), 50mm (T1.5), 85mm (T1.5)

The EF 14mm f/2.8L II USM goes beyond human perspective, with a massive 114˚ field of view. A corrected, rectilinear design make this an ideal lens for architecture, interiors and landscapes.

The EF 24mm f/1.4L II USM has a large maximum aperture of f/1.4, making hand-held shooting possible in low light.

A classic, slightly wide-angle 35mm focal length, loved by documentary photographers for its ability to capture a subject within its environment without distorting perspective.

With its incredible f/1.2 maximum aperture, the super fast EF 50mm f/1.2L USM is a consummate low-light performer. A lens that allows fine creative control over focusing and depth of field.

A professional short-telephoto lens, precision-made for low-light shooting and those situations where extremely shallow depth of field is required. Perfect for creative portraiture.

A high-performance full-frame Macro lens with f/2.8 aperture, that’s also great for portraits.
L-series f4 fisheye zoom lens offering a choice of full frame or circular image and a wide angle of view.

EF 16-35mm f/2.8L III USM is a premium quality ultra-wide angle zoom lens, with a constant f/2.8 maximum aperture, for the highest image quality possible even in low light conditions.

A professional everyday L-series zoom that delivers high image quality with a constant f/2.8 aperture.
A compact L-series zoom lens with a f/4 aperture and Image Stabilizer great for travel and general use.

The EF 70-200mm f/2.8 L USM is a professionally quality, fast-aperture telephoto zoom lens popular with wildlife and sports photographers, as well as those shooting weddings and portraiture.

This large-aperture ultra-wide-angle prime lens offers G Master quality in an innovative design that is incredibly compact. Industry leading technology achieves breathtaking resolution plus exquisite bokeh even at maximum F1.8 aperture.

Sony’s latest optical technology achieves impressive corner-to-corner resolution from maximum F1.8 aperture in a large-aperture wide-angle prime lens. It is also remarkably compact, and matched with an E-mount body makes up a versatile, mobile system with outstanding AF performance, control, and reliability for a wide variety of shooting needs.

Unsparing application of leading-edge technology achieves refined G Master performance with consistently high resolution and soft, natural bokeh even at the widest F1.4 aperture setting.

The Sony FE 35mm f/1.4 GM Lens is packed with advanced optical technology for stills photography and video with two XA elements delivering leading image quality, within in a compact, lightweight body.

Sony’s latest lens technology delivers extraordinary resolution and bokeh in a compact, lightweight lens. Extraordinary AF, smooth operability, and rugged reliability add the finishing touches to this innovative large-aperture standard prime lens.

The perfect 85mm F1.4 portrait lens with outstanding sharpness dissolving to magnificent bokeh.

G Master series Zoom lenses take imaging and expression to previously unattainable levels with a stunning blend of extremely high resolution and softly dissolving background bokeh

Constant f2.8 24-70mm zoom with an unprecedented union of high resolution and creamy bokeh.

Advanced optics achieve consistently high corner-to-corner resolution throughout the zoom range. Four aspherical elements effectively reduce aberration, while ED (Extra-low Dispersion) glass elements minimise chromatic aberration.

70-200mm f2.8 zoom with extraordinary G Master resolution and bokeh.

The first super-telephoto zoom in Sony’s flagship G Master series covers a versatile 100-400mm range.With extraordinary resolution and fast, precise autofocus it lets you capture distant action with outstanding quality and immediacy.

Academy awarded Lens : superb balance between quality & agility in a lightweight zoom. 15-40mm (2.7x) T2.6

28-76mm (2.7x) T 2.6

The telephoto compact zoom lens of the Optimo range: 45-120mm (2.7x) T2.8

The legendary long range reference in the cinema industry, for more than 20 years: 24-290mm (12x) T2.8

Filling the wide gap between still photography zooms, and the highly acclaimed Optimo series, the Angénieux Type EZ series features two new lightweight zooms.

Angenieux Type EZ-1: 30-90mm T2 for S35mm or 45-135mm T3 for FF

Thanks to an innovative modular design (Interchangeable Rear Optics IRO technology™) the rear lens group can be exchanged between S35mm (up to 30mm image diagonal), and FF format (up to 46mm image diagonal)

Angenieux Type EZ-2: 15-40mm for S35 T2 or 22-60mm T3 at FF

All Alura Zoom colour characteristics, as well as their handling, are matched to existing prime lenses in ARRI’s outstanding repertoire.

All Alura Zoom colour characteristics, as well as their handling, are matched to existing prime lenses in ARRI’s outstanding repertoire.

All Alura Zoom colour characteristics, as well as their handling, are matched to existing prime lenses in ARRI’s outstanding repertoire.

All Alura Zoom colour characteristics, as well as their handling, are matched to existing prime lenses in ARRI’s outstanding repertoire.

The Fujinon 75-400mm T2.8-3.8 Premier PL Zoom Lens is made for Super 35mm format film and digital cinema cameras and it will render a telephoto to super telephoto angle-of-view.


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