ORDER NOW Select Page “The first affordable truly high-end cinema prime lens set.” With new or already established prime lens sets on the market… …why a new one? It is the lens that I have always wanted. I am a huge fan of Leica, Cooke and Angenieux lenses. These lenses fit the needs I have as a filmmaker. But they were not within my grasp of being affordable. If you wanted an affordable prime lens, not only were most the amazing features missing, they were missing the “Look”! I’m Steven Kisilevich, filmmaker, inventor, and expert in bear-hugging Celere: (Latin: quick, fast, swift, speedy) Just like a professional prime lens, my ideal lens had to have the right mix of: T1.5 high speed pleasing out-of-focus textures beautiful skin tones vibrant images the right sharpness good contrast gorgeous, soft bokehs… There were none to be had, until now…. Finally a set of high-end, affordable, compact lenses. Art, say “Hello” to Science… The Standard Set was just the beginning. Since march 2017 the worlds first 18.5mm T1.5 is released to the wild. The wide angle lens has no vignetting (also on RED Vista Vision), and the position of the gearing still the same as it is at the whole set. Say wow to very little breathing, while enjoying the wide angle of view on a cropless Full Frame Sensor. In the past one could only choose from two out of three: High Speed, Wide Angle, Full Frame. This is the first of its kind in the world where you don’t have to make compromises. Being a Sith focus puller has now gotten even easier. You and Celere HS can now focus on galactic dominion. Imperial focus pullers tolerate neither inaccuracies nor the need for reading glasses. So your prime lens can have imperial barrel markings that are both large and evenly-spaced. And a Sith that sees well in low light is even cooler. That's why we added a bit of glow-for-the-dark-side magic to the witness markings. Click the image to join the dark side.. I mean enlarge the image. The Vario-Mount System Does your Celere HS Lens need Kung Fu? Are Celere HS lenses just PL-mount lenses? Not any more. We have the Vario-Mount System which currently includes the PL, EF and E-Mount. (When placing your order, please specify which mount(s) you want.) How to switch out the PL or EF-mount: Note: a cold beer may make this easier Step 1: Grab the Torx Wrench Step 2: Remove the 6 locking screws Step 3: Remove or switch out mount Step 4: Lay the appropriate shim for collimating Step 5: Set the mount back in place Step 6: Place the set screws back using a Torx T6 Torque Wrench Step 7: Eat a bacon cheese burger Annoyance free shims! Because we are lazy The Celere HS lenses are using the same standard shims as other lens manufacturers. Let's just keep things simple. Most have been using these shims worldwide for a couple of decades already (i.e. Ultra Primes). The net diffusion look is now easier with a Celere prime lens. Throw away the double-sided tape. Dial in that old analog soft look, re-introducing the use of nets in the Digital age! We wanted to bring back the old school diffusion effect. With the advent of Digital Cinema Sensors now at 4K, 6K and even 8K, we thought it best to make this as easy as pie for the Camera assistants (who mostly had to work with double-sided tape). 1) Unscrew the threaded back locking ring (pictured above) and place your choice of Wolford or other stockings! 2) Stretch until you reach the desired level of diffusion. Once your happy, replace the back locking ring. After the Adapter-ring has been properly seated, proceed to cut with a razor gently around the Stainless Steel PL mount. Quickly find the right diffusion effect Put your assistant to work Change out stockings and test different tensions quickly to find that right look. Your assistant will be testing stockings until they are no longer embarrassed to buy loads of pantyhose at the drugstore. For Filter Lovers... ... we added another slot for filters Call your 40.5mm filters back to work, and teach them the meaning of good team work. Combined with front filters, net diffusion and exchangeable front lenses you can change your look in at least four ways now. Special Celere LMB25 Ø85 Adapter It's not rocket science... but they are damn useful! Solid build, long lasting, well working! Since Arri does not provide this size, we made asked them if we could build our own. No more rebalancing on set Your cameraman life just got easier Go ahead, smoke another. You've got time. The Best Steadicam Lenses on the Market Why? Because only these can save you time on set All things being equal, if a steadicam operator can get more shots in, he is more valuable. Because Celere prime lenses are the same weight (each 1050 grams) and the same diameter (90 mm), you don't need to stop,.... dock,.... change out the lens,.... level out,..... and undock. These bad boys save you time. Just change out the Celere HS lenses and you can trust that you will fly straight without rebalancing. Watch these steadicam operators switch out the Celere 25mm with the 36mm. Rebalancing?.... That's for rookies Photos courtesy of Steadicam Operator Tobias Meik Designed with Brushless Gimbals in Mind More time saved when flying with your Movi Freefly or DJI Ronin Look, I know I am repeating myself, but there is no other prime lens set on the market that caters to steadicam and brushless gimbals. And we've had no problems switching out Celere lenses without rebalancing. No rebalancing means you can react on set with lightning speed. 23 Seconds. That's it. Thats the time it took AVT Plus to change lenses on Gimbal. I am sure there have been many situations in your life, when you wished you could do this. Well, now you can. That is what HIT Products are about: Make filming easier. Been dying to add slow motion and underwater cinematography to your kit? Now you can afford it with a Metabones Speedbooster Rental companies have been using Celere lenses in EF-mount for some time now, on RED Epics, Arri Amiras, and now they’re using the Metabones Speedbooster for the Sony cameras. The Celere HS lenses effectively become a T1.1 This works well on Sony FS5 cameras for High Speed Shoots as well as companies now shooting underwater cinematography with the Sony Alpha A7SII. But are they really Full-Frame? Actually, they can handle more than that. Think Vista Vision. So here's the proof.... My fellow lens geeks, I have to confess, I'm an "unrecovering" lens-a-holic. I know it is slightly unusual to use PL-mount lenses and talk about Full Frame (24mm x 36mm). In the past, all top PL lenses were only built for S35 (Motion 35mm). We anticipated something more... When we envisioned the Celere prime lens line, we wanted to have more options available. Sure enough, after starting distribution there came a huge response for EF and E mount users which we had to implement. So now with the Vario-Mount System you can now simply swap between EF, E and PL! And you can get even more than full-frame. With every good lens there is a fine balance between Art and Science. Many have been posting beautiful artistic shots, we felt we needed to bring in more of the Science. Celere 36mm Lens Projector Test The Celere HS 36mm on the Chrosziel Lens Test Projector, Collimated to exactly 52.000mm Here is the Projected image from the Celere HS 36mm prime lens. Using a Full Frame Graticule (reticle) As one can see, the Celere lenses extend beyond the full frame. As a special note: We measured the Celere HS 36mm Image Circle to be 44.2mm Celere 85mm Lens Projector Test The Celere HS 85mm prime lens on the Chrosziel Lens Test Projector, Collimated to exactly 52.000mm Here is the Projected image from the Celere HS 85mm lens. Using a Full Frame Graticule (reticle) Even on the Celere HS 85mm prime lens, it extends beyond the full frame. (In the coming months we want to publish more of the Science. We are working towards the MTF test charts and lens projection tests for the other lenses.) Will these lenses work on my RED Helium 8K? Yes. At least this is what Offhollywood posted. Will these lenses work on my RED Weapon 8K Vista Vision? Yes. The RED Weapon 8K sensor size is 40.96mm x 21.6mm, this is larger than Full Frame. Each Celere HS prime lens easily covers the RED Weapon VV at 8K. So, me and the buds go to Downtown Hamburg for some low light shooting. We took the Sony Alpha 7RII with its full-frame sensor to do some handheld shots with Celere HS prime lenses. And here's what happens... (Warning: This could make you hungry.) It's been raining all day when we meet at the main train station. The seduction of evil Mickey-D fries on the balcony nearly had us. But our loyalty belongs to the potato wedges that await us at the pub later. Shot with the Celere 25mm. Celere HS 25mm at T 2.8 Celere HS 25mm at T 1.5 Celere HS 25mm at T 2.0 Shot with the Celere HS 25mm at T 2.0 (handheld). Shot with the Celere HS 25mm at T 2.0 (handheld) Shot with the Celere HS 36mm Shot with the Celere HS 25mm Our downtown hangout turns into a political thriller as we approach Jungferstieg. Intrigue lurks in the Rathaus (City Hall) shadows... (My stomach starts growling.) While browsing children's books on the Neuer Wall, I discover an old picture of a man painting his horse in his living room... Then I drift off into deep meditation about bacon burgers. I kinda like the streaks of light from the headlights of the cars! Backlighting with smoke, fog or even rain helps a little. One of our favourite photos of all on display for this series. Shot at T 1.5 Has a very Cinematic feel! Is that the reflection of a tail light..... ....or could it be blood?... We don't wait around to find out. Without potato wedges we will certainly die. T 2.8 T 2.0 T 1.5 T 1.5 T 2.0 T 2.8 T 5.6 T 4.0 T 8.0 We dash for the pub and find a dark corner lit by a single candle. I order a round of Guiness for me mates And yes, oh yes.....some mouth-watering potato wedges. I heard Spielberg once say… … that he made movies he wanted to see and some for his kids. And if audiences around the world also liked those films, that was just icing on the cake. I also wanted to create something I could give back to my friends and fellow filmmakers. This is at the very heart of creating the Celere HS Lens Set. Built for your Grandchildren (Yes, they will also work in the film industry) Like a good film, each prime lens of ours is constructed to endure the test of time. They are not to be a cheap disposable lens, here today, gone tomorrow. Rather, they are made to age and be of use for many years to come, for generations of film-makers to use, just like some of my favourites (older Speed Pancro’s). So that’s why I needed to partner with a precision technological master to realize these lenses… “Where Art meets Science” This is me (left) and Q… I mean Lars Andersen (right). We drink our martinis the same way we hold our lenses. “Shaken not stirred” Enter the technological master Bond had Q…. I’ve got Lars This is where Lars came to the project, he was instrumental in getting the mechanical design. Lars gave the idea a physical form, a durable, robust full metal body, that was continually modified and moulded to what it is today, quality lenses! He gave the housing a unified eight-leaf iris module, made them light-weight, easy to handle. Compare Celere HS lenses to the more expensive alternatives The proof is in the pudding…. ……I love pudding. Technical details of the shoot Shot on the Arri Alexa XT in 3.2k ProRes 4444 (because of file sizes, we exported from Final Cut in 422) In the settings of Final Cut, we chose the Log Processing – Arri Log C No grading has been done For Arri LogC File Videos: Originals out of the camera at 3.2k ProRes 4444 shot on the Arri Alexa XT Compared Lenses Celere HS 25mm vs.: Zeiss CP.2 25mm Zeiss Ultra Prime 24mm Cooke S4 25mm Celere HS 36mm vs.: Leica Summicron C 35mm Zeiss Ultra Prime 32mm Arri-Zeiss HS 35mm Celere HS 25mm VS. the more expensive alternatives Celere HS 36mm VS. the more expensive alternatives Celere HS out in the Wild FAQ What are the technical details of the lenses? Well, you asked for them…. Affordable high-end quality Lightweight, compact, easy to handle, no bulky lens housings! Beautiful skin tones Pleasing out-of-focus textures and highlights Rich, vibrant images with sharpness and a good contrast Gorgeous soft Bokeh Color matched 8k lenses Perfect lenses for fast moving productions The standard set lenses have the same weight (only set in the world, e.g. Steadicam, Movi Freefly, DJI Ronin, ALTA 8, etc.) The standard set lenses have the same fronts All lenses are provided with the Vario Mount System and can easily be switched between PL, EF and E-Mount. Minimal breathing All accessories stay in the same position Unified eight-leaf iris module, just like the Leica Summicron-C, Cooke S4’s and Cooke S4 mini’s (Cooke S5’s use 7-leaf, Master & Ultra Primes use 9-leaf) at the the standard set Celere lenses have almost no visible geometric distortion with consistent image quality from center to edge of lens, this means that a straight edge on your set will appear as a straight edge on camera/monitor Easily serviceable modular design High quality Full Metal Jackets! Durable robust metal housings. Manual focus Silky Smooth, accurate focus-pulling Built to last design Illuminating precise focus markings Focus scales available in metric and imperial Or metric and imperial as dual focus markings at once Industrial Standard Shims as Kit are available for collimating (Same shims as Ultra Primes) Internal focusing lens, the overall length of the lens remains the same when rack focusing Built for S35 sensors but will cover up to Full Frame Sensors with no Vignetting 250 degree focus markings (nearly same as Cooke S5 and many Cooke S4’s and some Ultra Primes which all have 270 degree), this kind of rotation for your AC will make a huge difference! Perfect for high speed cameras! All lenses are bright and fast (in Latin, this is called Celere), have a T1.5 stop, high speeds for low light scenes Virtually Focus Shift free Great close focus quality Superb images: High quality specially made front and rear lens caps Custom cases with laser cut foam Tested in minus 25 degree Celsius (-13 Fahrenheit) and at plus 45 degree Celsius (113 Fahrenheit) Made in Germany Highlights of Each Lens: Celere Lenses 18.5mm 25mm 36mm 50mm 85mm Aperture Range T/1.5- T/16 T/1.5- T/22 T/1.5- T/22 T/1.5- T/22 T/1.5- T/22 Focusing Range 23mm (9.06 inches) – ∞ 25mm (9.8 inches) – ∞ 33cm (13.0 inches) – ∞ 48cm (18.9 inches) – ∞ 100cm (39.4 inches) – ∞ Focus Scale Metric/Imperial Metric/Imperial Metric/Imperial Metric/Imperial Metric/Imperial Fokus Markings 250° 250° 250° 250° 250° Front Diameter 95mm 85mm 85mm 85mm 85mm Front Filter Thread M86x1 (C86) 77mm 77mm 77mm 77mm Length 126 mm 108mm for full frame – 118mm with extra ring for super 35 118/90 mm 118/90 mm 118/90 mm Diameter 95 mm 90 mm 90 mm 90 mm 90 mm Camera Mount PL-mount, EF-mount, E-Mount PL-mount, EF-mount, E-Mount PL-mount, EF-mount, E-Mount PL-mount, EF-mount, E-Mount PL-mount, EF-mount, E-Mount Weight 1285g (2,83 lb) +/- 10g 1050 g (2.31 lb) +/- 10g 1050 g (2.31 lb) +/- 10g 1050 g (2.31 lb) +/- 10g 1050 g (2.31 lb) +/- 10g Does the lens set come with a case? There is a lens case for 4 lenses (€250) and a lens case for 6 lenses (€400) available, they are both optional. . What if I don't live in the EU? We have an almost world-wide distribution now. Check out our world map to find a location nearest you. How long will it take for delivery? Once the order has been received and purchase is complete, it will take us currently up to 3 months to manufacture the lens and ship it. Depending on customs of certain countries the arrival time can be affected. I recieved a ring with my set - what is it for? Actually you got two rings for the front of the 25mm lens. Both rings are equal in weight, so when one of them is mounted the lens has 1050g +/- 10g. You need to use the Full Frame ring when you film with Full Frame Cameras to avoid vignetting. Please make sure you use the right ring to get the best results with your Celere 25mm lens. Are you planning on making a tele lens? Yes, there is a 135mm in the making. More details will follow. 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