Poland’s best-kept filmmaking secret, ATM SYSTEM pairs rare vintage lenses with expert tech and sommelier-style service, helping DPs unlock bold, character-rich visuals.
Most rental houses claim to meet every need, but few truly cater to a cinematographer’s discerning eye. Even fewer offer rare lenses and expert guidance.
ATM SYSTEM, Poland’s largest independent rental house, is a hidden gem. Based in Warsaw since 2003, it boasts 600+ unique lenses sourced globally for standout visuals.
“Because anybody can rent all the well-known lens sets off-the-shelf we wanted to set ourselves apart by curating a library of cinema optics all of which have a story to tell,” says Marcin Mikołajczyk, Lens Sommelier, ATM SYSTEM. “Our lenses have character, history and are full of possibility.”
To maintain everything in working order, ATM rely on chief lens tech Paulina Hryc—one of the youngest and most experienced technicians in Europe, with a reputation for helping DPs explore new looks and re-engineering optics.
DP Bartosz Bieniek chose ATM’s lens sommelier service when prepping for Dziadku, wiejemy! (Let’s Go Grandpa!), directed by Olga Chajdas. After testing several options, he selected a vintage Voigtlander Zoomar 36-82, Ancient Optics Petzvalux and a set of rehoused KOWA FF sphericals.
“This was possible thanks to the blind test which I often recommend for creative teams,” says Mikołajczyk. “The director and cinematographer can focus on what they really like for the project by look alone and not be swayed because a lens has a famous brand or has been used before by someone else. That’s often the best way to decide how to tell your story.”
Polish DP Piotr Sobocinski Jr. worked with ATM to find the right combination to shoot historical drama Scarborn (aka Kos), winner of the Golden Lions Award at the 48th Polish Film Festival.
Other DPs to commend the lens sommelier include Lasse Frank, DFF; Jann Doeppert, FNF; Radosław Ładczuk, PSC and Nicolás Villegas, ADFC, PSC who says, “Consultations with Marcin and his team have helped me mix different manufacturers in the same project without creating a large discrepancy in the result. It is a joy for me to be able to play with different ‘flavours’ in the vintage selection, which often have great character, colour and contrast that modern lenses lack. The lens selection is carefully paired with accessories like specialty filters, periscopes and solutions that can be manufactured in house according to my needs.”
It’s also possible to alter perfect lenses by adding special filters and exchanging lens elements with uncoated ones or even altering the position of elements to achieve a unique look.
ATM has recently acquired exclusive sets of Tamashii and Statera lenses, of which only a few exist worldwide. It also developed new Lomocron lenses, combining Leica R glass with Lomo square fronts. Another standout project is a rehoused P. Angénieux 25-250 from 1962, adapted to shoot both anamorphic and full-frame.
“I always look for something original and rare to revive for today’s DPs,” Mikołajczyk explains. “That’s why we built a full LOMO 70 Series and a modified set of Contax645 lenses suited for cameras like the Blackmagic Ursa Cine 17k or Fujifilm GFX Eterna. With bigger sensors in demand, we’re ready with the coverage.”
Also, on-site ATM has a full range of professionally serviced cameras, lighting and stage equipment and mobile production facilities – with good discounts available.
“We’re always open to collaborating with international cinematographers. If you’re shooting in Poland or anywhere nearby, feel free to reach out—whether you’re after a specific lens look or just want to explore what’s possible. We’re ready to help you find something truly unique for your next project.”
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This article was sponsored by ATM System.
