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Monday 9:30am - 5pm Tuesday 9:30am - 5pm Wednesday 9:30am - 5pm Thursday 9:30am - 5pm Friday 9:30am - 5pm

http://www.cinemaengineering.com/

Cinema Engineering Company, 4823 Marine Avenue, Lawndale, CA (2026)

11/25/2025

We don’t come across sets of Bausch & Lomb Super Baltar lenses very often, so we were thrilled to find this set which includes a 20mm, 25mm, 35mm, 50mm, 75mm, and 100mm f2.0 in Mitchell MK II mounts with BNCR adapters. These lenses have been serviced and checked on the collimator and are in very good used condition. Renowned for their optical quality and thoughtful design, the Bausch & Lomb Super Baltars are a spectacular addition to any shooting package. The Bausch & Lomb Super Baltar series of lenses ushered in a new era of optical design when they were introduced in the early 1960s. They carried on the legacy of the world renowned Baltar lenses that shot many classic Hollywood feature films of the 1940s and 50s. Unlike the classic Baltars, the Super Baltars feature a linear focus mechanism that moves the elements in the housing in a straight line without rotating. All of the elements are anti-reflective coated, and the focus and f/T stop controls have the same amount of rotation on all focal lengths. These lenses are also one of the early adopters of the retro-focus style optical system. The Super Baltars were designed by pioneering Bausch & Lomb engineer Lena Hudson, a protege of Dr. Wilbur Rayton, designer of the classic Baltar lenses, and were introduced in 1960. They were first made available alongside the new Mitchell R-35 camera, and were initially available in focal lengths from 20mm up to 9in. https://ln.run/Lfyhg

11/25/2025

We don’t come across sets of Bausch & Lomb Super Baltar lenses very often, so we were thrilled to find this set which includes a 20mm, 25mm, 35mm, 50mm, 75mm, and 100mm f2.0 in Mitchell MK II mounts with BNCR adapters. These lenses have been serviced and checked on the collimator and are in very good used condition. Renowned for their optical quality and thoughtful design, the Bausch & Lomb Super Baltars are a spectacular addition to any shooting package. The Bausch & Lomb Super Baltar series of lenses ushered in a new era of optical design when they were introduced in the early 1960s. They carried on the legacy of the world renowned Baltar lenses that shot many classic Hollywood feature films of the 1940s and 50s. Unlike the classic Baltars, the Super Baltars feature a linear focus mechanism that moves the elements in the housing in a straight line without rotating. All of the elements are anti-reflective coated, and the focus and f/T stop controls have the same amount of rotation on all focal lengths. These lenses are also one of the early adopters of the retro-focus style optical system. The Super Baltars were designed by pioneering Bausch & Lomb engineer Lena Hudson, a protege of Dr. Wilbur Rayton, designer of the classic Baltar lenses, and were introduced in 1960. They were first made available alongside the new Mitchell R-35 camera, and were initially available in focal lengths from 20mm up to 9in. https://ln.run/Lfyhg

11/20/2025

Mitchell NC #701 was originally purchased by the 1352nd Photo Squadron on August 4, 1961. It comes complete with one 1000' magazine, a Mitchell peanut motor, a Mitchell matte box, and 3 lenses. Headquartered at the Lookout Mountain Air Force Station from 1947-1969, the 1352nd Motion Picture Squadron of the US Air Force was tasked to capture secure, reliable, on-film records of nuclear tests, ballistic missile tests, the US space program, and US Air Force Activities in Vietnam. Staffed by both civilian and military personnel with a wide variety of expertise, Lookout Mountain was a fully equipped, fully functional, self-contained movie studio. They produced training films, high speed scientific tests, news coverage of Air Force events, and fully acted and scripted features. The Lookout Mountain facility and its staff developed new film storage technologies, new high-speed cameras and film technologies for capturing detonations, 3D photography, and experimental camera mounts for aircraft. In 1932, as sound films took over the industry, and in an effort to reduce the operating noise of their cameras, Mitchell introduced a new model called the NC, or “Newsreel Camera”.

Originally designed for the Westinghouse Corporation, the Mitchell NC represents a significant change in the design of the film transport and shutter drive mechanisms from those on the earlier Mitchell Standard. The NC features a series of eccentrics and levers that work together to transport the film. Commonly referred to as the compensating link movement, it eliminated the gears and cams that operated the pull-down and registration pins found in the Standard, replacing them with eccentrics. While not completely silent, the NC was a marked improvement over the Standard in terms of camera noise. Both the Standard/GC and NC models were manufactured concurrently through the 1970’s. https://ln.run/T6Cyl

11/19/2025

The Baltar series of lenses, manufactured by the Bausch & Lomb Optical Company, was introduced to the market around 1940. These lenses were specifically designed for motion picture photography in both color and black and white. Designed by long-time Bausch & Lomb optical engineer Dr. Wilbur Rayton, the Baltar lens is flat of field, free of spherical aberration and curvilinear distortion, and corrected for flare, coma, and astigmatism. These lenses gained quickly in popularity after their introduction and were used widely in the movie and television industries for decades. The Baltar lenses were available in 8 focal lengths for 35mm film, from 25mm to 152mm. The lens we are featuring here is a Baltar 100mm f2.3 in Mitchell Standard mount. Add it to your collection today! https://ln.run/gjRYa

11/19/2025

This Bell & Howell 2709, serial number 707 comes from the studio of award-winning studio matte painter and visual effects artist Rocco Gioffre. His masterful matte paintings and effects work can be seen in such films as “Gremlins [1984]”, “Star Trek: The Motion Picture [1979]”, “RoboCop [1987]”, “Hook [1991]”, “National Lampoon’s Vacation [1983]”, and many, many more. The camera has undergone some modifications over the years, and can be seen fitted with a Mitchell Standard 400’ magazine and a Nikon lens mount on one of the turret positions. These modifications make this camera an ideal choice for matte painting photography, tabletop and stop motion photography, many types of composite photography, and truly anything that requires absolutely perfect film registration. The all-metal Bell & Howell 2709, introduced in 1912, forever changed the face of motion picture cameras and cinematography. Its sturdy metal construction, precision engineering, and steady, reliable movement propelled it to quickly become the standard camera of the movie making world, supplanting the earlier Pathe Professional. It was quickly adopted by industry luminaries like Charlie Chaplin, Douglas Fairbanks, Mary Pickford, Arthur Edison, Norma Talmadge, and Tony Gaudio, among many others. The camera we are featuring here, Bell & Howell 2709 serial # 707, was originally sold to First National Productions in 1925. First National was one of the “Big 5” studios of Hollywood in the 1920’s, its studio lot in Burbank, California now occupied by Warner Brothers who bought a majority interest in the company in 1928. During its heyday, First National counted some of the era's most famous actors, such as Loretta Young, Douglas Fairbanks Jr., Walter Pidgeon, and Gary Cooper, directors like Frank Lloyd and Alan Dwan, and cinematographers such as Arthur Edeson, Ernest Haller, George J. Folsey, and Ted D. McCord among its employ.. Add this working piece of history to your studio or working collection today! https://ln.run/w6t_Y

11/19/2025

After revolutionizing the world of 16mm format zoom lenses in 1956 with his design of the mechanically compensated 4x 17-68mm zoom lens, Pierre Angenieux changed the game again in 1958 when he designed a 4x zoom for 35mm cinematography. The prototype of the 35-140mm Angenieux zoom was used by cinematographer Roger Fellous to film “Julie la Rousse” for director Claude Boissol and “Les Affreux” for director Marc Allegret. Following these successes, Angenieux launched their first 10x zoom lens for 35mm in 1962 with the 25-250mm f3.2 zoom. For this achievement, Pierre Angenieux was awarded a Scientific and Technical Achievement Award by the Academy of Motion Picture Arts and Sciences in 1964. The Angenieux 25-250mm zoom was used widely on feature films, television programs, and documentaries from its introduction, until it was supplanted by the improved HP version in 1985. We are pleased to offer this wonderful example of the revolutionary Angenieux 25-250mm T3.7 zoom lens in PL mount. No collection is complete without one! https://ln.run/XTtok

11/13/2025

Introduced in 1973, the Cinema Products CP-16R quickly became one of the most popular 16mm spinning mirror reflex, sound-silent cameras on the market. It features a built-in magnetic sound head for single-system sync sound recording. The camera is small, ergonomic, light weight, and easily portable, ideal for news gathering and documentary, low budget, and student filmmaking. This CP-16R comes complete with an Angenieux 12-120mm T2.2 zoom lens, two 400' magazines, a custom CP battery eliminator with 4-pin XLR power connector and power cable, a Peter Lisand Ultra 1 Fluid Head, and a Peter Lisand all-aluminum tripod with built-in spreader. https://ln.run/tx4qv

11/12/2025

Arriflex 35 II C spinning mirror reflex 35mm camera with a custom Nikon hard front conversion and a flatbase with a variable speed motor. The camera comes complete with a 400’ magazine. This camera has been fully cleaned and serviced and is ready to shoot your next project. https://ln.run/-zf7X

11/11/2025

As a change of pace between other projects, I have been taking a look at the various Bell & Howell Eymax lenses I acquired several years back as part of a lot purchase. I don’t know much of anything about these lenses, but all of the ones I have in stock are in Bell & Howell Eyemo mounts. The lens barrels unfortunately do not relate who made these lenses for Bell & Howell, but I assume they were made for the military as much of the collection the lenses came along with was military surplus. As they have been sitting for quite a while, all of these lenses need to be cleaned, re-greased, and collimated, but I will be working on that between other projects over the next several weeks. I have 25mm, 50mm and 6” telephoto Eymax lenses in stock, including a couple that are listed on my website right now. Are any of you familiar with these lenses? I find no advertising for them or listings of any kind, other than classified ads. I would love to find out who manufactured them and when. And if anyone has shot with them before, what was the experience like? I look forward to hearing from you! https://ln.run/8HlJ1

11/10/2025

Now available! Thanks for following along as I fumbled through the design, engineering, and printing of this replacement cable header that fits a stock ARRI 16 S or ST. As anyone who has owned an ARRI S knows, factory cables are nowhere to be found. My goal was to design a custom replacement power cable for both the ARRI 16 S and ST cameras so that the camera itself did not have to be modified. The cable features a custom 3D printed power connector that fits the stock ARRI power input, along with a 6ft cable and an industry-standard 4-pin XLR connector on the other end. Includes the slot for ARRI ST cable clamp. These power cables are printed and assembled to order. https://ln.run/YmEep

11/07/2025

The ARRI 35 was introduced in 1937, and was revolutionary in its design. It features a spinning mirrored shutter and a parallax-free erect image viewfinder, all in a compact, handheld package. These cameras were first used by the German military during WWII, and some early examples were captured by American troops and brought back to the US during and after the war. You can tell that this camera is an original ARRI 35 by looking at the pull-down mechanism, the phenolic aperture plate, the turret, and the matte box support system. This example, serial #807, is the earliest one we have had in our inventory and was built sometime prior to 1942. It comes complete with one 400' magazine and two 200’ magazines, a variable speed motor, an ARRI high hat, three Astro Berlin lenses, and an original case. The ancestor of the popular, Academy Award Winning ARRI 2B and 2C, this ARRI 35 is a perfect addition to any camera collection. https://ln.run/AEn0r

11/07/2025

The ARRI 35 was introduced in 1937, and was revolutionary in its design. It features a spinning mirrored shutter and a parallax-free erect image viewfinder, all in a compact, handheld package. These cameras were first used by the German military during WWII, and some early examples were captured by American troops and brought back to the US during and after the war. You can tell that this camera is an original ARRI 35 by looking at the pull-down mechanism, the phenolic aperture plate, the turret, and the matte box support system. This example, serial #807, is the earliest one we have had in our inventory and was built sometime prior to 1942. It comes complete with one 400' magazine and two 200’ magazines, a variable speed motor, an ARRI high hat, three Astro Berlin lenses, and an original case. The ancestor of the popular, Academy Award Winning ARRI 2B and 2C, this ARRI 35 is a perfect addition to any camera collection. https://ln.run/AEn0r

Cinema Engineering Company

11/25/2025

11/25/2025

11/20/2025

11/19/2025

11/19/2025

11/19/2025

11/13/2025

11/12/2025

11/11/2025

11/10/2025

11/07/2025

11/07/2025

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Monday	9:30am - 5pm
Tuesday	9:30am - 5pm
Wednesday	9:30am - 5pm
Thursday	9:30am - 5pm
Friday	9:30am - 5pm