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OLD FAST GLASS - Cinema Lens Rentals

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OLD FAST GLASS - Cinema Lens Rentals

OLD FAST GLASS is a Los Angeles based motion picture camera rental company, focusing on vintage cine

FULL LIST OF LENSES (Email for prices)

- ANAMORPHIC PRIMES -

ATLAS LENS CO. ANAMORPHIC PRIMES
32mm T2
40mm T2
50mm T2
65mm T2
80mm T2
100mm T2

CINEOVISION HIGH SPEED ANAMORPHIC PRIMES
25mm T1.9
35mm T1.6
50mm T1.4
85mm T1.4

CINEOVISION STANDARD SPEED PRIMES
35mm T1.4
50mm T2.3
85mm T2.3

KOWA PROMINAR ANAMORPHIC PRIMES
32mm T2.3 (with adapter)
40mm T2.3
50mm T2.3
75mm T2.8
100mm T3.4

KOWA PR

OMINAR ANAMORPHIC PRIMES - REHOUSED BY MIRRORSCOPE
30mm T2.3 (with adapter)
40mm T2.3
50mm T2.3
75mm T2.8
100mm T3.4

LOMO / COOKE HYBRID ROUND FRONT ANAMORPHIC PRIMES
35mm T 2.5
50mm T 2.3
75mm T2.3
100mm T 2.3

NIPPON SCOPE ANAMORPHIC PRIMES
40mm T2.3
50mm T2.1
85mm T2.2

TODD AO ANAMORPHIC PRIMES
35mm T1.4
38mm T2.3
55mm T1.3
85mm T1.4

- ANAMORPHIC ZOOM -

LOMO 40-120mm T3.1 (f2.5)

- SPHERICAL PRIMES -

CANON K-35 PRIMES - REHOUSED BY TLS (Full Frame)
18mm T1.5 Canon K-35
24mm T1.5 Canon K-35
35mm T1.4 Canon K-35
55mm T1.4 Canon K-35
85mm T1.4 Canon K-35

CANON FD PRIMES - REHOUSED BY TLS (Full Frame)
14mm f2.8
20mm f2.8
24mm f1.4
28mm f2
35mm f2
55mm f1.2
85mm f1.2
100mm f2
135mm f2
300mm f2.8

COOKE SPEED PANCHROS - REHOUSED BY TLS
18mm T2.2
25mm T2.2
32mm T2.3
40mm T2.3
50mm T2.3
75mm T2.3
100mm T2.8

KOWA CINE PROMINAR SPHERICAL PRIMES - REHOUSED BY TLS
15mm T4
20mm T2.6
25mm T2.3
32mm T2.3
40mm T2.3
50mm T2.3
75mm T2.3
100mm T2.6

KOWA CINE FF PRIMES - REHOUSED BY WHITEPOINT OPTICS (Full Frame)
19mm T4
28mm T3.6
35mm T2.9
50mm T1.9
100mm T3.6
135mm T4
200mm T4

LEICA R - REHOUSED BY GL OPTICS (MKIV)
15mm T2.9
19mm T2.9
24mm T2.9
28mm T2.9
35mm T1.5
50mm T1.5
60mm T2.9
80mm T1.5
100mm T2.9
135mm T2.9
180mm T2.9
280mm T2.9

LOMO SUPER SPEED PRIMES
18mm T3
22mm T1.5
28mm T1.3
35mm T1.5
50mm T1.3
75mm T1.5
100mm T2.1

NIKON AIS PRIMES - REHOUSED BY ZERO OPTIK (Full Frame)
15mm T4
20mm T3
24mm T2.2
35mm T1.5
50mm T1.3
58mm T1.3
85mm T1.5
135mm T2.1

RICHARD GALE OPTICS CLAVIUS PRIMES
22mm f2
28mm f2
38mm f2
58mm f2
88mm f2

ZEISS SUPER SPEED / STANDARD SPEED PRIMES
- 18mm T1.3
- 25mm T1.3
- 35mm T1.3
- 50mm T1.3
- 65mm T1.3
- 85mm T1.3

ZEISS STANDARD SPEED PRIMES
14mm T2.1
16mm T2.1
24mm T2.1
32mm T2.1
50mm T2.1
85mm T2.1
135mm T2.1

- SPHERICAL ZOOMS -

Angenieux EZ 15-40mm T2 / 22-60mm T3 (Full Frame)
Angenieux EZ 30-90mm T2 / 45-135mm T3 (Full Frame)
Cooke 18-100mm T3
Cooke 20-60mm T3.1
Cooke 25-250mm T3.9
Fujinon 19-90mm T2.9
Zeiss 15-30mm T2.9 (Full Frame)
Zeiss 28-80mm T 2.9 (Full Frame)
Zeiss 70-200mm T2.9 (Full Frame)
Focus Optics Ruby 14-24mm T2.8 (Full Frame)
GL Optics 11-20mm T3
Sigma Cine 18-35mm T2

- SUPER 16mm PRIMES -

Century Precision Optics 4.5mm T1.9
Century Precision Optics 6mm T1.9
Optica Elite 7mm T1.3
Zeiss Super Speed 9.5mm T1.3
Zeiss Super Speed 12mm T1.3
Zeiss Super Speed 16mm T1.3
Zeiss Super Speed 25mm T1.3
Zeiss Super Speed 50mm T1.3

- SUPER 16mm ZOOMS -

Canon 8-64mm T2.4 Super-16
Canon 10.5-210mm T2.4 Super-16
Canon 11-165mm T2.5
Cooke 10-30mm T1.6

- EF MOUNT LENSES -

NIKON CINE-MODIFIED LENSES (Full Frame)
Nikon 15mm f 3.5
Nikon 20mm f 2.8
Nikon 24mm f 2
Nikon 28mm f 2
Nikon 35mm f 1.4
Nikon 50mm f 1.2
Nikon 85mm f 1.4
Nikon 105mm f 1.8
Nikon 135mm f 2
Nikon 180mm f 2.8

09/05/2026

In case you missed our Cine Gear announcement, the Ancient Optics Petzvalux 21mm T1.9 has landed. Now, the unmistakable look of the Petzvalux Primes is available in an ultra wide 21mm with FF/VV/LF coverage. Like the rest of the set, it gives you the unique look of a Petzval lens, but in an ultra wide focal length, giving you a complete 8-lens set from 21mm to 120mm. Like the rest of the set, the 21mm is user tunable. By adjusting the tuning ring you can dial in bokeh character, spherical aberration, and field curvature giving you more control over your images.

09/04/2026

Stunning work from cinematographer Jacob “Kuba” Bojsza working with director Ayodeji for “sleep” by thekidlaroi

Kuba paired one of our ARRI Alexa 35 Xtreme kits with Cooke 20-60mm T3.1, Canon 7-63mm T2.6, Canon 11-165mm T2.5, Canon FD 300mm T2.8, and Optex 5.5mm T2.

DIRECTOR: Ayodeji
CREATIVE DIRECTOR: nickvernet
COMPANY: Paar
EP/PRODUCER: Ben Tan
PM: David Cho
PC: Kevin Il goo Chang
CINEMATOGRAPHER: Jacob “Kuba” Bojsza
PRODUCTION DESIGNER:
EDITOR: Ayodeji
COLORIST: Jack Film Scans and Color Grading

GIRL: Mila Degray

1ST AD: KWESI SALMAN
2ND AD: ANDRE MARIGNY
1ST AC: Mike Lemnitzer
2ND AC: ✩ 𝙰𝚜𝚑𝚕𝚎𝚢 𝙺𝚊𝚝𝚎 ✩
STEADY OP: James Marin, SOC
DIT: GAVIN WHITE
CLT: Nick Durr
ACLT: ROGELIO “ROLO” VASQUEZ
SLT/DRIVER: GIOVANNI VARGAS
SLT: ISAAC HAN, AIDEN DE JONG, KEVIN KIM
KEY GRIP: Brad Powers
BBG: WADE CORDTS
GRIP/DRIVER: JAVAUN CRANE-BONNELL
GRIP:
NICHOLAS LUNA
JEREMY RECORD
DAVE DONALDSON
CAM RENTAL: Old Fast Glass

SPFX - HEAD: BLUMES TRACY, BOB GARRIGUS
SPFX:
RANDY PIKE
DUSTIN WASHBURNE
MARK GARRIGUS
ERIC MATUSCHEK

SET DRESSER: GRIFFIN ELLIS
SITE REP: BROOKELYNN BISORDI
PA:
BORIS NAVARRO
BEN FISK
PATRICK WIRTH
PA/DRIVER: RYAN ANTUNA

STYLIST: Dev Alexander
HAIR + MUA: MOLLIE DODSON
TKL PHOTOGRAPHER: ADAM KARGENIAN
PHOTOGRAPHER: CHRIS YELLEN
BTS PHOTOGRAPHER: GRIFFIN ELLIS
TITLE CARDS: BROOKS TRAVERS
DIGITAL TEAM: DORM ROOM
TKL TEAM: AMANDA GONZALES, MIKE G
SECURITY: TONY AGUIRRE JR

COLUMBIA RECORDS:
Saul Levitz
SHEILA MOHEBPOUR
(ee-lawn)
JESLYN WANG

09/02/2026

Beautiful work from cinematographer David Jones working with director Imran J. Khan for the film “Mustache.”

David chose our TLS rehoused vintage LOMO Round Front anamorphic lenses which he paired with Sony Venice. In David’s words, “the LOMO round fronts were perfect. We had it in mind that we were going to crop the image, so we actually cut out the little bit of vignetting the lens has with the Venice 1. We cropped it to 2.29:1, which felt right. Imran, J. Kahn, the director, showed me some 90s vintage film snap shots from his teen years. He also showed me scenes from Goodfellas which made for a fun combination of influences to interpret. The LOMOs gave us the right amount of vintage character we liked for this period. And the bigger, anamorphic feel matched how we imagined our lead — someone who spent middle school over-dramatizing his own story.”

LOMO Round Fronts are a favorite of many cinematographers. They are surprisingly sharp on center, with gradual falloff. Bokeh is gorgeous, with a nice amount of swirl to it. They have the right amount of barrel distortion, and beautiful lens flares. They are quite flattering for anamorphic lenses, never stretching an actor’s face. The TLS housings give them reliable modern mechanics, and improved close focus.

The film won the audience award at SXSW and is streaming now.

CREDITS
Mustache
🎬 DIRECTION
Director: Imran J. Khan
1st AD: Brendon Cabral

🎥 CAMERA
DP: David Jones
1st AC: Richard Gonzales
2nd AC: Avigal Levona
DIT: Clayton Masales

💡 GRIP & ELECTRIC
Gaffer: Kirill Melamed
Key Grip: Mitchell Jones

🎨 ART & COSTUME
Production Designer: Alexis DeBad
Costume Designer: Ginger Martini

🖥️ POST
Editor: Harrison Atkins

✨ ALSO ON SET
Sound Mixer: Josh Van Dreumel
Key HMU: Nightstar
Locations Mgr: Scott Wood

🏷️ PRODUCERS
Exec Producer: Andrew Bronfman
Exec Producer: Jason Jallet
Exec Producer: Jonathan Bronfman
Producer: Christina Won
Producer: Jessica Sittig
Producer: Christopher Storer
Co-Producer: Cooper Wehde
Co-Producer: Parker Mays
Line Producer: Craig Fleming
Line Producer: Carla Martí

08/27/2026

NEW GEAR! ZERØ OPTIK, LLC rehoused Pentax SMC Takumar 15mm T4 has been added to our vintage Pentax lens set. This is now the widest lens in the set. It’s an ultra-wide rectilinear lens, not a fisheye. The coatings are a perfect match for the color, contrast and lens flare character of the rest of the set.

These Full Frame Pentax primes are medium contrast, and are surprisingly sharp for older lenses. They produce beautiful warm lens flares, and bokeh is soft, with some unique texture to it. For comparison, they are not quite as expressive as Canon Rangefinder / Type SK, but they are also not as modern as Canon FD, Minolta Rokkor, or Olympus OM. They fit nicely between those worlds.

The set also includes a first of its kind 25mm T2.3, based on original Pentax optics, which makes this a much better set for cinematographers, and a perfect match to the rest of the primes. The entire set features Zero Optik’s new Name Tag mounts which transfer lens data to the camera including lens make, model, focal length, max T stop and serial number. Available now to rent at Old Fast Glass.

08/21/2026

Come see us at the 2026 CINEMA SWAP, hosted by Vault Rentals. Old Fast Glass and OFG CUSTOMS will be there selling accessories like these Anamorphic Probe Adapters at huge discounts, SATURDAY ONLY!

CINEMA SWAP - This Saturday, August 22
11:00am-4:00pm
220 W Ivy Ave
Inglewood, CA 90302

BUY + SELL + TRADE + DEMO

08/20/2026

NEW GEAR! This is probably the largest and most complete set of TLS rehoused vintage Zeiss Contax primes you will find anywhere: 13 focal lengths, from 15mm to 180mm now available at OFG. The set includes the now legendary Super Speed 35mm, 50mm, and 85mm, and the 28mm “Hollywood Lens.” It also has the less common 45mm T2.9 and 60mm T2.9 Macro. On the wide end you have the 15mm, 18mm, and 21mm, giving you excellent ultra wide options.

Zeiss Contax lenses, are sharp, high contrast lenses, that perform well in almost any shooting situation, but are more interesting and forgiving than more modern lenses. They are very consistent from lens to lens in regard to performance, color, and contrast.

The lenses are quite compact and lightweight. TLS was able to squeeze almost every lens into a 95mm housing, except for the ultra wide 15mm which needed to be 134mm diameter. They all focus incredibly close. As with all TLS sets, they have matching focus and iris gear positions for quick lens swaps.

Email us for a quote or to schedule your next lens test in our Lens Test Studio.

08/15/2026

Beautiful new work from cinematographer Enrico Valoti for LensCrafters Back to School campaign. Enrico chose Arri Alexa Mini LF & vintage ZERØ OPTIK, LLC Leica M Summilux / Noctilux primes for this one. These high speed Leicas from the 1960s are like nothing else out there. Flattering, but still sharp. They have medium contrast, and beautiful flares that never overwhelm the image. Bokeh is absolutely gorgeous without being distracting. They are also very consistent and well-matched from focal length to focal length.

Director Tania Bornacin
Production Photobomb Collective stefano.ottorino Johnny Pascucci Nick Lambrakis David Newman Omar Quiroga / 奥马
Art & Creative Director Claudia Mainardi dnd_5
Comms Manager whobens
Copywriter
1st AD Jenna Verchota
Cinematography Enrico Valoti
1AC Christine Mouton
2AC Megan Sun
Gaffer Marlon OBrien
Key grip Shun Goldin
Spark Raul Morales
Grip Brian Perry
BTS Steven Priovolos | DP
Service Old Fast Glass
Styling Lauren Knudsen
Editor Bizzy Classico
Color Greta Federici

08/14/2026

Stunning work by cinematographer Shane Bagwell for underscores “The peace” directed by Ayodeji

Shane chose ARRI Alexa 35 Xtreme paired with Canon K-35 15-120mm f1.3 and Canon 10.5-210mm T2.4 for this project, which mixes in a lot gorgeous high frame rate cinematography. These two zooms offer incredible range as well as impressive speed, perfect for high-speed work with the Xtreme.

Director: Ayodeji
Production Company: bigkid
Creative Director: underscores
EP: willnoyce
HOP: vladenponomar
Producer: arpi

DP: Shane Bagwell
1st: Luke Jamison
2nd AC: Jaden
Programmer: Oliver Kompst

Gaffer: Isaac Marziali
Best Boy: Em Shafer
Electric: Harrison Segal
Electric: Trevor Dunnigan
Electric: Trevor Mitchell

Key Grip: Brad Powers
BBG: Val Tabian Jr
Grip: Javaun Crane-Bonnell
Dolly Grip: Kelly Pong
Grip: Kaleb Blakey

Art Department:
HMUA: BAY
Special Effects Coordinator: Austin Yzaguirre & Hunter Gorton
Additional Casting: Gabriel

Medic: Haidi Rodriguez

PA: Colton Randol + lindsay leibow

Edit: Ayodeji
Colorist: brian charles

08/13/2026

Beautiful work from cinematographer Todd Banhazl, ASC for “Don’t Leave Me on the Dance Floor” by Carly Rae Jepsen - directed by Jeremy O. Harris

Todd chose ARRI 416 paired with an Angenieux 11.5-138mm T2.3, with Panasonic DVX100B for the intro. Stunning work as always.

Producer David Moore
Director Jeremy O. Harris
DP 𝖙𝖔𝖉𝖉 𝖇𝖆𝖓𝖍𝖆𝖟𝖑, 𝖆𝖘𝖈
Choreographer
Editor Pete Ohs
Color Walter Volpatto
Creative Director
Wardrobe Sophie Hardeman
Makeup Zaheer Sukhnandan
Prod Brian Gork
Prod Cor
1st AC Kyle Petitjean
2ND AC
Sound Playback BenKamm
Gaffer Brian Rupp
BBE
Key Grip Steve Forbes
Production Designer Helen

🎥 by Old Fast Glass
Kodak Motion Picture Film

Shot at The Garibaldina Society in Highland Park.

08/12/2026

Beautiful work from Don Turner for “Blush” performed and directed by Prateek Kuhad

Don shot on the OFG CUSTOMS Long Shot, paired with TLS Canon Rangefinders, IronGlass Soviet 58mm T2.1 and ARRI SR3. The Long Shot gives you the character, field of view, and depth of field of Full Frame lenses on the 16mm format.

Director - Prateek Kuhad
Cinematographer - Don Turner
1st AC - Chris Powers
2nd AC - Mikey Levi Guntetong
Gaffer - Michael Tellup
Key Grip - Nathan Kadota

Kodak Motion Picture Film

Address

11058 Randall Street
Sun Valley, CA
91352

Opening Hours

Monday	9am - 5pm
Tuesday	9am - 5am
Wednesday	9am - 5pm
Thursday	9am - 5pm
Friday	9am - 5pm

Telephone

+17472232343

Website

http://www.oldfastglass.com/

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