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The photos speak for themselves: we do optical servicing… but we still want to tell you something, this time about us.
Let’s say that it’s precisely thanks to this passion that Jack and Gigi met and became friends. But we’re not talking about the usual passion for “glass” that brings together most people who love cinema. We’re talking about something a little different: the passion for taking things apart and putting them back together, anything and everything.
Reverse engineering, by definition, is the process of analyzing an existing object or system to understand how it works, its structure, and the principles behind its design.
It might sound boring, but to us, it’s fucking awesome.
Discovering how, 50 or 60 years ago, someone came up with a particular mechanism to solve a mechanical problem, without computers or specialized software, using nothing but paper and a pencil, is something incredible.
And that’s exactly how we started: by randomly finding a completely disassembled lens in a drawer.
We looked at each other, and we both had a huge grin on our faces.
Needless to say, we immediately started trying to put it back together. Zero instructions, just a long process of trial and error, trying and trying again to assemble all the pieces we had until everything finally fit together perfectly.
It took us three full days.
But the really funny part was that, in fact, the pieces in that drawer didn’t belong to just one lens, but to two: a Nikon 50mm f/1.4 and a Nikon 35mm f/1.4.
And they worked perfectly!
Pure joy, literally.
We had just discovered and opened the doors to a whole new world: the world of optomechanics.

The rest is history. by @gjfc_factory

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12 days ago

“ARRI Alexa Mini”… guys, what an incredible camera.
It surfed the huge wave of worldwide cinema industry for almost a decade, and there’s really no need to ask why.
A perfect camera, they really thought of everything… or almost.
While making our Canon CN-E PL Custom Mounts, we realized that they worked perfectly on pretty much every camera on the market, except the Alexa Mini.
And here we are, facing another wall: do we take a different route, or do we build a door so we can get through?
Needless to say, taking a sledgehammer to that wall sounded much more appealing to us.
And so, after plenty of CAD work and CNC machining, our Custom Clips for PL Mounts were born.

And let’s be honest…

This Blue Sky anodizing is pretty damn cool. by @gjfc_factory

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16 days ago

You may not know this, but these cinemodding gears are one of the reasons GJFC Factory was born.
It all started with old vintage lenses. We adapted them to our digital cameras, saw the look they produced, and, well… it was hard to go back.
Let’s be honest: optical engineers in the ’70s and ’80s really knew what they were doing.
The real problem came when we brought those lenses onto set. Modern cinema cameras require precise standards for focus and iris control, while vintage lenses were designed for a completely different world.
Cinemodding gears have been around for years. The thing is, after trying quite a few of them and spending more money than we’d like to admit, we kept running into the same issues: tolerances, compatibility, clearance, and solutions that simply didn’t work as they should once they hit the set.
So we decided to make our own.
No standards. No compromises.
Every Custom Gear is designed and manufactured to fit a specific lens, using materials chosen for durability and geometry designed for real-world production. We test them, refine them, and test them again until we’re confident they can handle a film set without becoming another problem to deal with.

Because a gear may look like a small detail.

Until you’re on set.

Introducing our Custom Gear. by @gjfc_factory

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20 days ago

November 2011, Hollywood: Canon officially enters the world of Cinema, and they make sure everyone hears about it.
They introduce their new Cinema EOS system and, at the same time, their very first dedicated line of cinema lenses: the Canon CN-E series.
Featuring an extraordinary maximum aperture (T1.3–T1.5) and coverage for the VistaVision format, the launch of this system redefines the video market, while remaining an exclusive Canon ecosystem thanks to its EF mount.
But would this market choice, breaking away from the industry-standard PL mount, actually work?
Almost 15 years later, these lenses still rank among the fastest Full Frame cinema primes on the market. However, their EF mount and incompatibility with the main cinema cameras used on set meant that many of them ended up sitting on a shelf, unable to reach their full potential.
We saw that potential and wanted to give these lenses a second life. We wanted to bring them back to the set.
And so, our Custom PL Mounts for Canon CN-E were born.

#canoncne #plmount #cinelens by @gjfc_factory

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24 days ago

Mechanical cleaning, scales repainting, mount redesign. This is what we mean by Custom Solution.

An Angénieux 25-250 Type B found by chance in a basement, buried for years under books and boxes. It had to go back on set, to do what it was built for: producing incredible images.

Time stopped for the lens, not for the set. Sensors, mounts, new focus systems: a full restoration and new geared rings were needed. The real catch was the screw mount, a format with no documentation anywhere. Today the standard is PL, and we adapted it to this zoom without altering its optical and mechanical characteristics.

#angenieux #plmount #customsolution #cncmachining #gjfcfactory by @gjfc_factory

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a month ago

Almost there

#gjfcfactory by @gjfc_factory

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a month ago

On delivery by @gjfc_factory

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a month ago