Quali sono gli orari di apertura?

Lunedì 08:30 - 13:00 14:30 - 18:00 Martedì 08:30 - 13:00 14:30 - 18:00 Mercoledì 08:30 - 13:00 14:30 - 18:00 Giovedì 08:30 - 13:00 14:30 - 18:00 Venerdì 08:30 - 13:00 14:30 - 18:00 Sabato 09:00 - 12:30

D-Vision Movie People

Casa
Italia
Rome
D-Vision Movie People

Rental Equipment for Cinema / TV

05/08/2026

D-Vision Movie People wishes you a wonderful summer holiday and reminds you that we will be closed from August 10th to 16th. ⛱️🏔️⛵️

03/08/2026

The Leitz HUGO lenses combine the precision of modern optics with an image that never feels clinical.

Designed for Large Format cinematography, they deliver exceptional micro-contrast, smooth focus fall-off, beautiful colour rendition and outstanding consistency across the entire set. The result is an image that feels rich, dimensional and incredibly natural, while maintaining the resolution today’s high-end sensors demand.

The set available at D-Vision Movie People consists of 9 focal lengths (18mm, 21mm, 24mm, 28mm, 35mm, 50mm, 75mm, 90mm, 135mm), offering a complete solution for productions looking for uncompromising optical performance with the unmistakable quality of Leitz.

18/07/2026

At D-Vision Movie People we have a very special set of Cooke Optics S4/i lenses that we call Gold.

Our Chief Lens Technician, Massimo Proietti, personally modified the complete 12-lens set by integrating a custom optical element that enhances the highlights with a unique warm, golden glow while preserving the legendary Cooke character.

One of our favorite cinematographers, Cristiano Di Nicola, used the Cooke Gold set for Mr. Eazi’s music video “Legalize”, directed by Federico Mazzarisi.

A subtle optical modification, yet one that gives the image a truly distinctive signature.

04/07/2026

Mauro Marchetti Camera Assistant to Cinematographer Vittorio Storaro on ‘Apocalypse Now’ still shares a close bond with the D-Vision Movie People family.

Thanks to him, the story of the legendary Technovision anamorphic lens sets lives on: the Technovision Zeiss lenses used for the daylight scenes and the Technovision Cooke lenses for the night sequences of the movie. Remarkably, both sets are still fully functional and ready to shoot today.

Mauro appears in two of the photographs in this post. In the first, he is alongside his father, Alfredo Marchetti, the film’s Key Grip, pushing the camera dolly In the second, he is the blond young man standing to the left of the taller camera.

More than behind-the-scenes photographs, these are fragments of cinema history.

25/06/2026

Proud to have supported DP on ’s La Grazia, now awarded at the Nastri d'Argento 2026.

A beautiful recognition for Daria’s work and the entire team behind the film.
Shot with 2 ARRI Alexa 35s, Leitz Hugo primes, Summicron-C, Angenieux EZ-1 zooms and a full DVision camera package.

Congratulations to Daria and everyone involved on this well-deserved achievement.

Dir:
Dop:

Camera Op.
1st AC: Alessio Robert Galasso
1st AC: Dario Paolini
2nd AC: Tonia Forte Maimone
2nd AC: Sofia Karakachoff
Video Assist:

Key Grip: Cristiano Biagioli
Key Rigging Grip: Marco “Marinese” Santarelli
Grip: Giuseppe Scudo, Lorenzo Sardini, Andrea Pomarici, Edoardo Toresi

Gaffer: Fabio Policastro
Key Rigging Gaffer:
Elettrician: Mauro Belli, Andrea Buzza, Matteo Zanchi

Producer: Anna Maria Morelli
Production Supervisor: Priscilla Pacetti
Head of Production: Camille Courau
Producer:
Producer:
Line Producer: Cristina Tacchino
Unit Production Manager: Elda Baldi
Unit Manager: Tobia Calevi
Unit Manager:
Unit Manager Assists: Vittorio Paladino Luca Seminario
Casting Dir. Massimo Appolloni annamaria sambucco
Production Design: Ludovica Ferrario

23/06/2026

We are extremely proud of this unique set of lenses we have worked hard to rehouse together with TLS

Long before large-format cinematography became fashionable again, Cooke Optics was already helping shape the look of some of cinema’s most ambitious productions. In the 1950s, the company developed the Double Speed Panchros and Duopanchros to cover the spectacular 65mm formats that defined the golden age of the movie roadshow era.
This set combines 9 of those rare lenses:
28mm T2.5
35mm T2.3
40mm T3
50mm T2.3
55mm T3
75mm T2.3
100mm T2.8
152mm T3.2
203mm T4.5

With 9 focal lengths spanning from 28mm to 203mm, this is probably one of the most complete surviving sets of Cooke Double Speed Panchros and Duopanchros in existence.

A remarkable piece of cinema history, now ready to shoot once again.

15/06/2026

We’re proud to have contributed to the making of ‘M: Son of the Century’.

Beyond providing camera and lens packages, one of the most rewarding parts of being a rental house is helping solve creative challenges on set. For this reflection shot, the team needed to capture both the actor’s face and the document simultaneously in-camera.
To achieve this, we proposed a beam splitter system, creating the effect live on set without electronic compositing.
A small technical contribution to a remarkable production.

Based on the bestselling novel by Antonio Scurati
Starring Luca Marinelli
Directed by Joe Wright
Written by Stefano Bises and Davide Serino
Cinematography by Seamus McGarvey
Camera Operator: Emiliano Topai

Camera Package:
- ARRI Alexa Mini LF
- Canon TLS Set • Leitz Prime Set • Leitz 25-75mm • Angénieux 24-290mm • 50mm Dream Lens • Jesse James 2.1

28/05/2026

Being able to support the vision and creativity of a DOP like Malik Sayeed is something that makes us incredibly proud.

For one of his latest productions, we managed to 3D rig two ARRI 535s, one of them fitted with a custom day-for-night filter setup.
The same technique was famously used by for some of the black & white sequences in Dune.
Perfectly aligning the film plane between the two cameras pushed us to the limit and definitely cost us a few nights of sleep.

26/05/2026

A few days ago we had the chance to host , who stopped by to test different lenses from our collection, including our legendary Zeiss B-Speeds TLS️.
The character of these lenses is truly unique: soft and glowing wide open, sharper and more contrasty when stopped down, with a distinctive triangular bokeh created by their rare 9-blade iris design. They became iconic after being used by Stanley Kubrick on the cult classic The Shining, helping create the film’s haunting and timeless cinematic atmosphere.

19/05/2026

DOP Emilio Costa decided to shoot the entire movie Cattiva Strada using only the Schneider Xenon 50mm T0.95 mounted on an ARRI Alexa Mini LF.
The lens has a truly unique character, the wider the iris is opened, the more it reveals its distinctive softness, texture, and dreamlike rendering, becoming a central part of the film’s visual identity.

Dir: Davide Angiuli
Dop/Camera Op:
1st AC: .brt
2nd AC:
DIT: Gianluca Sansevrino
Gaffer:
Key Grip:
Color: Paolo Buonpane
Color: Lab Inlusion

Indirizzo

Via Ruderi Di Torrenova 49
Rome
00133

Orario di apertura

Lunedì	08:30 - 13:00
	14:30 - 18:00
Martedì	08:30 - 13:00
	14:30 - 18:00
Mercoledì	08:30 - 13:00
	14:30 - 18:00
Giovedì	08:30 - 13:00
	14:30 - 18:00
Venerdì	08:30 - 13:00
	14:30 - 18:00
Sabato	09:00 - 12:30

Sito Web

http://www.dvisionmoviepeople.com/

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