TRIBE7

EZANA. BLACKWING7 evolved. Designed for filmmakers looking to embrace the future of 65mm format capture, EZANA features unique multi-coated lens structures, flare tuning and iris performance characteristics—specifically optimized for 65mm film and beyond. Inspired by the history of ultra-widescreen Cinerama (traditionally a 2.76:1 anamorphic format), EZANA reimagines the aesthetic, blending spherical optics with an anamorphic look. Head to our contact page (https://lnkd.in/ebNcu_r8) to connect and find out more. #blackwing7 #blackwing7ezana

As we see the days of 65mm format become more accessible, filmmakers will be able to bring an even greater expressive range, intentionality and visual authorship to their story. BLACKWING7 lenses have always been 65mm format-ready and we’re grateful for the projects that have explored the image-making possibilities of our lenses across this format. ANIMA (2019) Dir: Paul Thomas Anderson DP: Darius Khondji AFC, ASC, @dkhondji The High Note (2020) Dir: Nisha Ganatra, @nisha.ganatra DP: Jason McCormick, @jason_mccormick Scenes from a Marriage (2021) Dir: Hagai Levi, @hagailevi DP: Andrij Parekh ASC, @andrijparekh Lisey’s Story (2021) Dir: Pablo Larraín, @pablolarrainof DP: Darius Khondji AFC, ASC, @dkhondji Athena (2022) Dir: Romain Gavras, @romaingavras DP: Matias Boucard AFC, @boucardmatias All Quiet on the Western Front (2022) Dir: Edward Berger, @eeedwardberger DP: James Friend ASC, BSC All shot on ARRI ALEXA 65 with BLACKWING7 lenses. #blackwing7 #tribe7 #65mmformat #65mm #image-making

THIS BODY IS A SHELL, on @nowness “Growing up, I avoided mirrors to evade facing my disabled body, which diverged from what I saw in the media. This sense of exclusion from society fueled a profound self-hatred, concealed beneath a facade of confidence. While outwardly perceived as outgoing and well-adjusted, inwardly I struggled deeply. However, with time, maturity, and the recognition of the importance of representation for the next generation, my perspective shifted. THIS BODY IS A SHELL is my cinematic exploration of this journey.“ - Ashley Eakin "The BLACKWING7 lenses enabled me to impart an expressionist perspective on our Director's deeply personal story. Our aim was to evoke an emotional resonance that mirrors the Director's own life experience with disability. By leveraging the lenses, we provided our audience a pathway to these experiences through the diverse visual perspectives achievable with the lenses, depending on the selected aperture. They functioned as instruments of honesty, finely tuned to harmonize with the nuanced performance of our talent." - Matt Sakatani Roe Dir: Ashley Eakin, @asheakin DP: Matt Sakatani Roe, @roematt Shot on ARRI ALEXA LF and BLACKWING7 T-Tuned lenses. #blackwing7

You’ve never seen a hustle like this before 🥊⁣ #FIGHTNIGHT: The Million Dollar Heist premieres TOMORROW on Peacock 💰 We can’t wait for you to experience the stunning 70s visuals by DP Jody Williams firsthand 🙏⁣ ⁣ Pictured: Camera Op Xavier Thompson lines up a home-run of a shot with Terrence Howard, & 1st AC Jason Bonner perfects every last detail before a take 🎬⁣ Photo Credits 📸: Cory Blake ⁣⁣ DP | Joe ‘Jody’ Williams Cameras | Sony Venice 2⁣ Lenses | TRIBE7 Blackwing7 T and X Tuned Primes & MasterBuilt Lenses Zooms⁣ Serviced By | #KeslowCameraAtlanta

Holy Rosita (2024) “We used the BLACKWING7 lenses for their trimmed look and soft feel. But the thing I like the most about these lenses is the fall-off. The focus is always on Rosita, and the background is out of focus, and I really like the out-of-focus effect on these lenses. We did a lot of lens tests, but those were the only ones that worked really nicely. They weren’t too blurry, and the softness worked well with the colors and the palette we had in mind. We were very happy with the combination of the Alexa Mini LF sensor and the BLACKWING7s. We described it as having to be realistic but also poetic. That’s what we tried to do. We still wanted it to be pleasing to watch, with the images and all of the colors being aesthetic.” - Dries Delputte SBC Dir: Wannes Destoop, @wannesdestoop DP: Dries Delputte, @driesdelputte_sbc Shot on ALEXA MINI LF with BLACKWING7 T-Tuned lenses. #holy_rosita #blackwing7 #cinelenses #cinematography #largeformat #primelenses

Kleo: Season 2 (2024) out now on Netflix Dir: Isabel Braak, @isabelbraak & Nina Vukovic, @vukstein DP: Jonathan „Jonny“ Ibeka, @jonathan_ibeka & Tobias Koppe, @tobi.koppe Shot on ARRI ALEXA Mini LF and SONY VENICE 1 with a mix of BLACKWING7 T-Tuned and X-Tuned lenses. #blackwing7 #cinelenses #cinematography #largeformat #primelenses

Supacell (2024) for Netflix “I had used T-Tuned BLACKWING7 lenses on a previous TV drama, so I knew they would be perfect for Supacell with the fast T stop, great contrast, and beautiful bokeh. I tested the T’s with the new ARRI 35 and the results were incredible. The lenses performed exceptionally well with the ARRI 35 on dark skin tones, and helped to cement the look I had created for Supacell with colourist Joseph Bicknell. Also the ideology and romanticism of using a lens range created by a Black cinematographer for a Black show with a Black lead DOP and Black showrunner was something special and not seen in recent times in the film and TV industry.” - Aaron Reid “Using the T-Tuned lenses for Supacell was a fantastic experience, and I was thoroughly impressed with their visual quality. I frequently use anamorphic lenses, but transitioning to spherical lenses was seamless with the T-Tuned, as they maintained an excellent image quality that fit perfectly with this project. I typically tend to use lenses with soft characteristics, particularly on digital cameras, so I was eager to try these. They did not disappoint, and hopefully I’ve done them some justice.” - Sam Heasman Dir: Rapman, @realrapman & Sebastian Thiel DP: Aaron Reid, @aarondop & Sam Heasman Shot on ARRI ALEXA 35 with BLACKWING7 T-Tuned lenses. #blackwing7 #cinelenses #cinematography #largeformat #primelenses

I Hate Suzie Too, streaming on Sky, HBO Max & NOWTV Dir: Dawn Shadforth, @shadforthandco DP: Patrick Meller, @patrickmeller_dop Shot on ARRI ALEXA Mini LF and BLACKWING7 T-Tuned lenses. #blackwing7 #cinelenses #blackwing7 #cinematography #largeformat #primelenses

Pretty Little Liars: Summer School (2024) on HBO Max “I was familiar with BLACKWING7 Lenses, as I had used the Binaries on American Horror Story NYC. The BLACKWING7 S-Tuned Lenses with SKIN 3000 played a crucial role in the storytelling of this season, Pretty Little Liars: Summer School. Adding texture, a soft fall-off, and a vintage vibe really enhanced the overall aesthetic and atmosphere of the show. It’s also great that they complemented various beautiful skin tones with warmth, eliminating the need for additional filters in front of the optics. We appreciated the thoughtful approach TRIBE7 embraced and how they supported the cinematography.” - Stanley Fernandez Jr Dir: Alex Pillai DP: @Stanley Fernandez Jr, @stizan Shot on SONY VENICE and BLACKWING7 S-Tuned lenses with a SKIN 3000 conversion. #blackwing7

Margot Friedländer. 102 years old, Holocaust survivor. She is not getting tired of telling her Story to the next Generations. For Humanity, for the Future. #neveragain it was an honor working with her. #framegrabs on TRIBE7 #blackwings