Cooke SF 2x Anamorphic/i T2.3 Prime set (32-100mm/T2.3)Special Flare (SF) version of the Cooke anamorphic/i lenses, which flare easily £1,605/day£4,815/week Add to cartView item
Cooke 1.8x Anamorphic Full Frame SF lens set (40-100mm/T2.3)Special Flare (SF) version of the Cooke 1.8x anamorphic Full Frame lenses (S7A), which flare easily. £1,559/day£4,677/week Add to cartView item
Cooke 1.8x Anamorphic Full Frame SF 85mm T2.8 Macro PrimeSpecial Flare (SF) version of the Cooke 1.8x anamorphic Full Frame lenses (S7A), which flare easily £459/day£1,377/week Add to cartView item
Cooke 1.8x Anamorphic Full Frame SF 180mm T2.3 PrimeSpecial Flare (SF) version of the Cooke 1.8x anamorphic Full Frame lenses (S7A), which flare easily £431/day£1,293/week Add to cartView item
Cooke 1.8x Anamorphic Full Frame SF 135mm T2.3 PrimeSpecial Flare (SF) version of the Cooke 1.8x anamorphic Full Frame lenses (S7A), which flare easily £431/day£1,293/week Add to cartView item
Cooke SP3 FF Mirrorless Prime set (18-100mm/T2.4) E-mountCompact Full Frame Mirrorless Prime Set £390/day£1,170/week Add to cartView item
Cooke SF 2x Anamorphic/i 25mm T2.3 PrimeSF coatings encourage flaring £361/day£1,083/week Add to cartView item
Cooke SF 2x Anamorphic 65mm T2.3 Macro PrimeSF coatings encourage flaring. 2x anamorphic macro prime £361/day£1,083/week Add to cartView item
Cooke SF 2x Anamorphic 135mm T2.3 PrimeSF coatings encourage flaring £361/day£1,083/week Add to cartView item
Account of VMI Anamorphic and Large Sensor Event in January 4 March 2019 VMI hosted an Anamorphic and Large Sensor event in late January at the newly opened CVP Creative Space in Newman Street Fitzrovia, an elegant new showroom over four floors. The three-day event was well … Read more
VMI – Taking Stock 29 April 2026 It has been ten days since RD took over at VMI, and what a whirlwind it has been. A lot of people have got in touch with me across the … Read more
RD Group announces acquisition of VMI.TV 22 April 2026 RD Group has announced the acquisition of VMI.TV, the nearly 50-year-old camera, lens and lighting rental house. The acquisition “secures the future of a deeply established independent supplier, protects access to … Read more
We’ve been super busy-busy 7 January 2019 VMI has been busy-busy over the past 12 months and have supplied camera equipment for 17 drama series, 5 x Natural History Series, plus several features, promos, commercials,corporates and feature films. … Read more
VMI Open House Day 13 Sep – Book Now 24 August 2023 A lot has changed in 2023, so instead of waiting until December for our annual new products day, we are hosting an ‘Open House’ in September with lots of new … Read more
VMI New Products Day 6/7/8 Dec. Limited Availability 1 November 2022 *** FREE EVENT – LIMITED AVAILABILITY *** VMI’s biannual New Products Day is this week! This is a big deal for us, as we only host this once every 2 … Read more
Greensleeves- A Film To Satirise Influencers on Fashion Greenwashing. It’s the art of presenting a product or a brand as eco-friendly and sustainable when, in reality, it’s anything but. As consumers increasingly seek out ethical and environmentally conscious … Read more
The grade: Core Post’s Matt Brown on Brassic 3 Core Post’s Matt Brown on the HDR grade and key scenes in the third season of Sky Original, Brassic Brassic is a comedy series set in North West of England, which … Read more
Blending the Digital and Physical in the Imagined World of The Cowgirl The Cowgirl is a production that asks “How do you translate the tactile, imperfect beauty of handmade craft into a photoreal 3D environment, without losing its soul?” A strikingly emotive … Read more
Tracking the shots on Midsomer Murders… with Ronin 4D You’d be forgiven for thinking that time moves rather slowly in the rural villages of Midsomer, but behind the scenes technology has not stood still. For the evergreen ITV crime drama’s … Read more
Proper diagnosis saves The Good Karma Hospital from location drama Hit ITV medical drama The Good Karma Hospital required a top to toe check-up of its own to keep camera equipment operational in the heat and dust of a location … Read more
Dare the Unknown with the F55 in neon-lit Hong Kong Fashion brand Palladium wants you to ‘Dare the Unknown’ in a new promo featuring rule-breaking New York-based super model Jazzelle (Zanaughtti), London Grime artist Octavian and Arthur Bray, a Hong … Read more
Shooting Anamorphic in Full Frame and S-35 Everyone appreciates the cinematic quality of shooting anamorphic. With the popularity of Full Frame, it made sense for VMI to make more options available for capturing in both anamorphic and Frame. This is a new article to explore these options.
Anamorphic and Full Frame Lens Tests, including a 57 Video Playlist. Do you ever wonder what a Zeiss Supreme looks like next to a Zeiss Masterprime? or what about a Tokina Vista next to an ARRI Signature prime, or even how … Read more
Capturing 2:1 Anamorphic with Alexa LF and S-35 lenses Capturing 2:1 Anamorphic isn’t quite so straight forward on the Alexa LF and Mini LF, due to the number of photosites on the sensor.
Next Generation Director’s Finder The ubiquitous Director’s finder has been an essential part of the DP’s toolkit since the invention of film but the recent innovation and widespread adoption of mobile phone apps which … Read more
The Creative and Technical Differences between Full Frame and S-35 Fully Updated Article, April 2023: To shoot Full-Frame or S-35? Are there really artistic reasons for shooting on FF? What are the advantages and what gear will I need?
Mid-range cameras don’t mean compromise At VMI we’ve noticed a recent trend among filmmakers and wondered if you agree? We’ve spotted that a significant number of productions are ‘trading down’ from using traditional top of the range cine-cameras…
VMI Guide to Film Lenses Article introducing the differences between film lenses and explaining the terms and factors which distinguish them.
Do ‘Netflix Approved’ Cameras Really Matter? Netflix has established itself as a benchmark for original streaming content, and with that has come a specific set of requirements for the cameras used to capture its 4K Originals. … Read more
Is 4K or 6K Enough. Do we even need 8K or more? This article aims to explore that there are further considerations to make when considering the image size and CODEC, which means more data, more transfer time, more media resource and in post, more render time, ultimately costing production more money. However, there is also a sustainability argument which becomes relevant, since more data also means more energy usage and a greater carbon footprint.
Macro and Micro Cinematography We all love to see images of extreme magnification to show a world which we can’t experience with our own eyes but just like all cinematography, this is hard to do well. The choice right lens for the specific shot is key and this article aims to explain the differences between Close Up, Macro and Micro photography/cinematography and in particular, to introduce the cinematographer to a relatively recent new type of lens, which are called Nelsonian Lenses made by Infinity Photo-Optical and which use microscope techniques to create unique images which are not possible using traditional optics.
Beginner’s Guide to Depth of Field This article is written mainly for those who want to know the very simple concepts which allow camera operators to manipulate the Depth of Field in order to make them look more cinematic.
VMI evaluation of whether the Canon C500 Mk II is any good? The Canon C500 Mk II may look like a C300 II but it has been completely redesigned and we think that in this configuration it becomes a fully-featured 4K camcorder … Read more
Wireless Lens Control Systems – all you need to know (updated Sep 19) THIS ARTICLE AIMS TO INTRODUCE THE CURRENT RANGE OF WIRELESS LENS CONTROL SYSTEMS WHICH VMI CONSIDERS THE BEST IN THEIR FIELD AND EXPLAIN WHY WE THINK THAT THEY WORK VERY WELL IN GIVEN SCENARIOS.
What it is like to shoot with Uncoated Lenses – Duncan Telford DoP DoP Duncan Telford shot a Weetabix commercial with Uncoated Cooke Mini S4s and describes in this article what it is like to shoot with uncoated lenses and how this look varies between different types of lenses
UNCOATED lenses – what you need to know This article seeks to explore the effects that removing the lens coatings can have on an image. ‘uncoated lenses’
2016 Anamorphic Prime Lens Chart Compiled by Tom Fletcher and Gary Adcock with information gathered from numerous conversations with various cinematographers, colorists, colleagues and manufacturers and reproduced with kind permission from Tom Fletcher. Click on the chart to … Read more