Even so, what really sets them apart is not their engineering, but their visual identity: their definition with a soft falloff in blur, their spectacular and enveloping flares, their characteristic swirly bokeh, organic contrast, and slight peripheral distortion that gives them unique depth and texture.
These qualities did not go unnoticed by Greig Fraser ASC ACS, director of photography for Dune: Part Two (2024), who incorporated several IronGlass Soviet MKII lenses into the film to capture a deeply atmospheric visual universe.
Their ability to transform light into matter and bring an almost dreamlike quality to the shots made these lenses an essential part of the sequel’s visual language.
Their new MKII rehousing redefines what was once an experimental lens: they now offer a robust metal body, redesigned internal focus, standard 0.8 Mod gears, a 95 mm front diameter for use with a light mattebox, and flawless performance in professional environments.
The set consists of six cinema lenses—20 mm T3.6, 28 mm T3.6, 37 mm T2.9, 58 mm T2.1, 85 mm T2.1, and 135 mm T2.9—all with Full Frame/Large Format coverage and PL mount. Balanced and lightweight, they can be used in both large-format productions and more agile configurations, gimbals, or compact rigs.
More than just lenses, IronGlass MKII lenses are a creative tool: their imperfect and expressive look brings humanity back to the digital image, offering a visual result that breathes, vibrates, and excites.
At RCservice, you can rent the IronGlass Soviet MKII lens set, the same type of optics used by Greig Fraser ASC ACS in Dune: Part Two (2024) to achieve its unmistakable organic and atmospheric aesthetic.
This set of six Soviet-made lenses combines vintage texture with a modern mechanical design in a PL mount, ideal for productions seeking a unique cinematic look, full of character and visual depth.
