American Society of Cinematographers Unveils ASC Todd-AO Lenses

Lens News

by Nino LeitnerSeptember 29^th, 2025

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The ASC has brought a piece of cinematic history back to life with the unveiling of the ASC Todd-AO lenses, a meticulously restored set of vintage primes originally designed for the revolutionary Todd-AO widescreen system of the 1950s. Rediscovered in the Society’s Hollywood clubhouse, the lenses have been reengineered for today’s large-format workflows while retaining the unique optical character of their era.

Unearthing these lenses is not only a celebration of the ASC’s legacy but also a bridge between filmmaking generations. Under the leadership of ASC member Shelly Johnson (who was ASC president before Mandy Walker was elected president earlier this year) and in collaboration with Zero Optik, the restoration ensures that the craftsmanship of mid-century cinema continues to inspire modern productions.

Designed for widescreen history, reimagined for today

The original Todd-AO format, developed in the 1950s by producer Mike Todd and the American Optical Company, was a breakthrough in widescreen filmmaking. Intended as a single-camera alternative to Cinerama, the format emphasized high resolution and immersive visuals. The lenses created for it became part of this technological leap.

Now, with the ASC Todd-AO lenses, that history has been revived. The refurbished set comprises nine prime lenses ranging from 18mm to 135mm. Each lens features unique T-stop and close-focus capabilities, with highlights such as the ultra-wide 18mm T5.3 (close focus: 1’1”) and the versatile 60mm T2.1 (close focus: 1’7”).

To suit contemporary workflows, the lenses have been rehoused with uniform focus and iris gear placement, simplifying lens swaps on set. All but the 18mm share a 95mm front diameter, while the 18mm uses a 114mm front. Interchangeable mounts (PV, PL, and LPL) allow easy integration across modern camera systems.

Classic optics with contemporary nuance

Cinematographer Greig Fraser, ASC, ACS, was among the first to test the refurbished set. He emphasized the lenses’ natural falloff and the way they render skin tones. “These lenses revealed themselves to be quite beautiful and subtle,” he noted. “We worked to create an element of resolution and sharpness without ever feeling ‘sharp,’ and were able to draw out more of a three-dimensional feel.”

This balance of vintage character and modern engineering is what sets the collection apart. According to ASC President Mandy Walker, the project underscores the Society’s dual mission of honoring its past while advancing creative possibilities. “By restoring the Todd-AO lenses, we’re doing more than simply honoring cinematic history,” she explained. “We’re empowering filmmakers to explore new creative frontiers with the soul of classic optics.”

Access through rental houses

The ASC Todd-AO lenses will circulate on consignment through select rental houses, beginning with Keslow Camera, where they are already available. The ASC hopes the set will inspire a new wave of filmmakers to experiment with optics that carry both history and personality.

Reintroducing these lenses highlights the ASC’s role not just as a professional guild but as a custodian of cinematic tools and traditions. By bringing the Todd-AO primes back to production life, the Society reminds us that filmmaking is as much about preserving artistry as it is about innovation.

Would you bring a set of 1950s widescreen lenses onto your next large-format shoot?