OFG Customs LONG SHOT Introduced – Optical Adapter Brings Full-Frame, Large-Format, Vista Vision Lenses to 16mm

Lens News

by Alexandra ThompsonNovember 12^th, 2025

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If you’ve ever wanted to give 16mm a full-frame look, the OFG Customs LONG SHOT optical adapter now makes it possible. It allows you to use full-frame, large-format, and Vista Vision lenses on 16mm film cameras while preserving the field-of-view, depth-of-field, and lens character of those larger formats. This will really open the door for 16mm fans with the addition of so many lens options, so let’s take a closer look at this adapter.

OFG (Old Fast Glass), founded by cinematographer Mark LaFleur in Los Angeles, has become a creative hub for filmmakers drawn to vintage, modern, and custom-built cinema lenses. OFG Customs, a division of Old Fast Glass, focuses on developing and modifying optics to achieve a distinctive visual character. With an extensive catalog, OFG collaborates with rental houses and productions worldwide, restoring, rehousing, and reimagining lenses that merge the soul of classic glass with the precision of modern design.

At NAB 2024, we took a look at the OFG Custom 65, a custom-built digital cinema camera designed around the FUJIFILM GFX100 II. Then they introduced an adapter for the Cooke 25mm T.24 lens, effectively converting it into an 18.5mm T2.4 lens. Now they have introduced the LONG SHOT, an adapter to widen the possibilities of working in 16mm.

Design and compatibility

The LONG SHOT is designed for PL-mount 16mm cameras like the ARRI 416, ARRI SR3, AATON Xtera, XTR Prod, Minima, and Bolex H16, giving these cameras many more creative options. You can use a wide range of professional lenses, including both spherical and full-frame 1.5x anamorphic lenses, to create a new look for 16mm. With Super 16mm film, shooting anamorphic gives you a de-squeezed 2.49:1 aspect ratio – very close to the classic 2.40:1 cinema standard, and you only need minimal cropping.

Build and connectivity

The OFG Customs LONG SHOT features interchangeable mounts and ships with a combo LPL/PL version, with optional Canon EF, Nikon F, Canon FD, BNCR, and OCT-19 mounts available. Each is shimmed for accurate focus marks. Built-in 3-Pin Fischer and 2-Pin LEMO ports provide R/S and accessory power, while the integrated cage supports 15mm LWS, 15mm Studio, and 19mm Studio configurations for standard rigging.

Exposure control

A standout feature is the internal exposure system, which adjusts brightness without affecting depth of field or introducing color shifts. This reduces reliance on ND filters and allows for smooth “iris racks” directly in-camera, for example, when moving from a bright exterior to a shaded interior.

Features

• Capture the field-of-view and depth-of-field of FF/LF/VV lenses on the 16mm format
• Compatible with all PL mount 16mm film cameras
• LPL, PL, EF, F, BNCR mounts available
• Compatible with full-frame anamorphic lenses
• Internal exposure compensation without affecting depth-of-field
• 3-pin Fischer R/S and 2-pin LEMO power distribution
• Includes custom cage and supports 15mm LWS, 15mm Studio, and 19mm Studio

Development and inspiration

The OFG Customs LONG SHOT began as an idea from cinematographer Gary Long, who wanted to bring the depth and flexibility of large-format optics to 16mm film. He approached OFG Customs, the development arm of Old Fast Glass, known for creating and modifying lenses for its extensive rental inventory.

According to OFG founder Mark LaFleur, this project marks the first time OFG Customs has developed a product based on a cinematographer’s concept rather than an in-house design. The adapter allows full-frame and Vista Vision lenses to project their complete image circle onto 16mm film, combining large-format depth with 16mm texture.

Final thoughts

It’s rare for a tool to feel like it expands a format rather than just adapting it, but the OFG Customs LONG SHOT seems to do exactly that. By letting cinematographers use Vista Vision and full-frame lenses on 16mm film, it blurs the line between small-format texture and large-format depth. Named after cinematographer Gary Long, whose idea sparked the collaboration, the project shows what’s possible when technical curiosity meets genuine affection for film. As Mark LeFleur put it, “It’s almost like inventing a new format.” If that proves true, 16mm may be entering one of its most creative chapters yet.

For more information, please see the OFG website here.

For filmmakers who love 16mm, does the LONG SHOT solve the lens limitations that have held you back? How would access to full-frame or anamorphic glass change the way you approach 16mm storytelling?