AUREUS PRIME, NiSi's new full-frame cinema lens collection, is unified by a constant T1.4 aperture. This ultra-fast T-stop ensures exceptional low-light performance and precise depth of field control, creating pleasing background separation even on the 18mm wide-angle. Optically, the series is engineered for professional-grade results, featuring high sharpness, zero focus breathing, and negligible chromatic aberration. Designed for efficiency, all lenses share identical physical dimensions, weight, and gear placements, allowing for rapid swaps. Each lens features a robust metal housing, a 90mm front diameter, and an 86mm filter thread. A swappable rear mount also accepts internal filters, such as ND or diffusion, leaving front-mounted accessories undisturbed.

Based on the popular AI-S stills primes from the 1980’s, Whitepoint Optics has rehoused these classic lenses into modern cinema housings. These beautiful lenses are sharp near the center with gradual fall off and water color like defocus. Their bokeh is bubbly and well defined, with good flare control for lenses from that era. The housings feature modern uniform front sizes and gear positioning.

The Lomo Round Front Anamorphics are Russian lenses that date back to the 1970’s. Known for their unique anamorphic optics, these Round Front Lomo’s have been expertly rehoused by TLS. This rehousing revives the lenses, making them cleaner than many unrehoused sets that have fallen into disrepair. They exhibit softness at the edges, but are relatively sharp towards the center of the frame. The housings are modern as well, removing the telescoping present on the original housings, and adding standard gear positioning and standard front diameters for most focal lengths.

Originally introduced in the 1970’s the Canon FD’s were still photography lenses well known for their warm pleasing tones and smooth nature. Whitepoint Optics has rehoused these lenses into modern cinema housings, offering a more robust build quality meant to withstand the rigors of modern cinema production.

The X-tract 18-28mm T8 wide-angle probe zoom series redefines the possibilities of macro cinematography. Featuring a combination of 0° and 90° lenses, it offers boundless creative flexibility. Designed for full-frame, it is fully compatible with S35 formats, providing an equivalent 22-35mm T8 range in Arri Alexa 35 Open Gate mode, ideal for commercial filmmaking. The 0° and 90° probe zoom lenses allow effortless adjustment of focal length and perspectives, even in confined spaces, creating enhanced spatial depth and dimensionality. This flexibility empowers filmmakers with exceptional adaptability and creative expression.

The Genesis Opia's provide a classic cinema look in a modern package. With uniform gear positions and front diameters, the entire set is well designed for modern cinema workflows. They feature constant T2.0 stops across the entire range, and offer excellent color rendering with creamy smooth bokeh. These Opia’s feature a single coating to increase flare characteristics.

Originally introduced in the 1970’s the Canon FD’s were still photography lenses well known for their warm pleasing tones and smooth nature. TLS has rehoused these lenses into modern cinema housings, offering a more robust build quality meant to withstand the rigors of modern cinema production.

Series 65 are 65mm format prime lenses built from vintage optics into modern housings with LPL mounts, they feature no expanders or gimmicks to achieve 65mm coverage. Designed to work with cameras like the ALEXA 65 Open Gate or Blackmagic URSA 17K 65, the Series 65 are high resolution, have excellent close focus, and produce an image that is rich and vintage without being mushy. All lenses feature the same front diameter, uniform housing design, and modern finish.

The TAMASHII Primes are reimagined lightweight Japanese vintage primes based on lenses from the 1960’s to 1980’s. They feature modern cinema housings in PL mount engineered by Zero Optik and Ancient Optics with standard front diameter sizes and gear positioning. The set is very well matched and exhibits excellent sharpness wide open with next to no chromatic aberration. Their flares are beautifully multi-colored and their bokeh is smooth and bubbly, with a slight cat's eye. They render the background well without muddling, while keeping subjects in sharp focus, even while wide open.

The Statera lenses are large format 1.5x anamorphics, designed with brand-new optical elements crafted specifically for this series. Behind each anamorphic group sits a vintage taking lens, contributing to the distinct look, but the focus is on their innovative modern design. Drawing inspiration from anamorphic lenses like Cineovision, JDC, and Nipponscope, the Stateras use a variable diopter focusing mechanism that inherently minimizes distortion. The oval bokeh is uniquely pronounced at the edges due to the field curvature of the vintage taking lens, making the 1.5x squeeze resemble the character of a 2x squeeze. While they nod to vintage aesthetics, the Stateras are built for modern durability and sharpness, housed in robust, modern casings.

The Phénix is a parfocal compact lightweight cinema zoom lens rehoused from the original Tokina 28-70mm AT-X stills lens produced in the early ‘90s and based on Angenieux 28-70mm design. Its zoom range is great for the size and weight, and it covers full frame. The original Tokina design features a relatively complex focus and zoom movements, making it very difficult to rehouse. Iron Glass was able to crack the complexity of the design and successfully rehouse this beautiful lens, retaining its beauty while upgrading it in many necessary ways. The result is a sharp lens with attractive fall off at the edges and textured bokeh. It features a new 15 blade iris design, modern gearing on the focus and iris scales, along with a new robust housing. The Phénix pairs nicely with Canon FD’s, Minolta Rokkor, Leica-R’s, Nikon’s, and many other vintage primes. 

The Canon FD Zoom is based on the original Canon FD 35-105mm. It has been meticulously rehoused into a modern cinema housing, but still features the same beautiful image produced by the original zoom. This zoom pairs well with the Canon FD or Canon K35 primes and is convertible from its original 35-105mm full frame format down to a Super 35 24-75mm format. This reduces the image circle of the lens, while speeding it up to a T2.9, making it perfect for Super 35. The lens is sharp, with moderate fall off, beautiful textured bokeh, and features Canon’s Super Spectra Coatings that produce gold and purple flares without losing too much contrast.

The Angenieux 6x Multi Format is based on the original 20-120mm from the 1960’s. This version has been fully rehoused by GL Optics for Ancient Optics and features the ability to change format by swapping the rear optic. The lens itself looks very close to the original 20-120mm, producing a sharp image with gradual fall off, lower contrast with blue magenta flares, and smooth bokeh. It pairs well with many prime lens sets from the 40’s, 50’s and 60’s. The standard rear optic 20-120mm T2.9 covers Academy 35, while the 24-144mm T3.6 rear covers Super35 and the 33-198mm T4.9 rear covers Full Frame.

The Petzvalux are a set of full frame, LPL-mount lenses that feature modern optics based on vintage Petzval lens designs. They feature a “tuning ring” on the front of the lens that provides a tunable Petzval look. This allows the user to tune the intensity of the sharpness, fall-off, and Petzval bokeh effect. This set was designed by Ancient Optics to include additional focal lengths than are normally available in the Petzval family, adding a 27mm, 38mm, and 120mm.

The Fuji EBC Primes were originally released in the 1970’s as compact fast SLR lenses for the still photography market. Fuji used Electronic Beam Coatings (EBC) on these lenses, allowing 11 layers to be coated on the elements, something that was unheard of at the time. The lenses are beautiful, exhibiting gradual fall off, colorful flares, and smooth bokeh. This set has been redesigned into modern housings by Ancient Optics, with matching focus and iris rings and standard front diameters, and PL mounts, making the set easier to use for modern filmmakers.

This ultra wide vintage prime lens is based on the original Kinoptik Tegea 9.8mm. Rehoused by Zero Optik for Ancient Optics, this 9.8mm is quite clean and produces a very wide image. The Zero Optik rehousing features a new 12 blade iris design, robust modern housing with smooth focus and iris gears, and an amazing close focus of 7 inches. This is without a doubt the best rehousing performed on the Kinoptik Tegea 9.8mm.

Originally a still photography zoom from 1959, the Voigtländer Zoomar is a full frame zoom lens that produces a relatively sharp image with gradual fall off, exhibits minimal focus breathing, and has relatively low chromatic aberration for a zoom of its era. The Zoomar is a good match to the Super Baltars, Kowa Prominars, or Canon Rangerfinders due to its older optical design. The modern rehousing was performed by GL Optics and features a modern PL mount, modern gearing, and a robust reliable design.

The SSC Canon FD’s feature the superb Super Spectra Coating from Canon. Designed in the early 1970’s, the Super Spectra Coating is a multi-layer coating that delivers optimum color balance and helps eliminate ghosting and flare aberrations present on the older non-SSC FD’s. This benefit is especially noticeable on today's modern digital sensors. The FD-X lens in this set is a modified 24mm Canon FD with a Angenieux 0.75x Wide Angle Adapter which allows for a wider 18mm field of view. These FD’s feature durable, reliable TLS rehousings for the modern era.

Originally introduced in the 1970’s the Canon FD’s were still photography lenses well known for their warm pleasing tones and smooth nature. Zero Optik has rehoused these lenses into modern cinema housings, offering uniform focus and iris gears as well as a more robust build quality meant to withstand the rigors of modern cinema production. The Zero Optik Canon FD's are available in PL mount.

Fujinon Duvo’s are the next generation of broadcast production centric zooms designed for both Super 35 and Full Frame use. Each lens features the ability to expand image coverage from Super 35 to Full Frame using a built-in expander. Optically these lenses are sharp and cinematic, with beautiful bokeh. They feature a built in servo system as well as Cooke /i and Zeiss eXtended Data for lens data.

Fujinon Duvo’s are the next generation of broadcast production centric zooms designed for both Super 35 and Full Frame use. Each lens features the ability to expand image coverage from Super 35 to Full Frame using a built-in expander. Optically these lenses are sharp and cinematic, with beautiful bokeh. They feature a built in servo system as well as Cooke /i and Zeiss eXtended Data for lens data.

The Laowa 24mm T8 Pro2be is the second generation of Laowa probe. It offers a faster stop than the old model, with a larger, more robust design. It’s tack sharp, full frame compatible, and allows up to 2x macro magnification. The housing is waterproof up to 36cm from the front of the system.

Three housing types are available: Straight, 35-degree relay, and Periscope relay.

The DZOFilm Catta Ace Zooms are versatile, full-frame cinema lenses available in 18-35mm, 35-80mm and 70-135mm. With a consistent T2.9 aperture across the set, these lenses deliver sharp, high-resolution images with smooth bokeh and minimal chromatic aberration. Their lightweight, weather-resistant design is durable and features standardized front diameters and gear positions. Ideal for a range of shooting scenarios, the Catta Ace Zooms provide superior optical performance and a professional modern look. The Catta Ace Zooms are available in PL, EF, and LPL lens mounts.

The DZO Arles Primes are expressive vintage-inspired full frame cinema primes with superior optical characteristics. They exhibit subtle flares, soft contrast, good color rendition, and have fast T1.5 apertures across most of the range that produce bubbly round bokeh. Their robust compact build and large variety of focal lengths make them ideal for many types of shooting situations, and they feature uniform gear positions and 95mm front diameters for ease of use.

The Gnosis Macros are 1:1 magnification cinema macros designed for capturing sharp close-up details. Available in 24mm to 90mm focal lengths, all with fast T2.8 apertures. They deliver sharp, color-accurate images with minimal distortion and their lightweight design with standardized gear positions makes them easy to work with. The Gnosis Macros are available in PL, EF, and LPL lens mounts.

The DZO Film Vespid Primes are high-performance full-frame cinema lenses, offering a wide range of focal lengths from 25mm to 125mm. They provide sharp, high-resolution images with minimal distortion and produce beautiful, cinematic bokeh. Their lightweight, weather-resistant build ensures reliability on set, while their sleek, modern design and standardized gear positions make them easy to use. Perfect for filmmakers seeking full frame versatility and in a compact package, the DZO Film Vespid Primes are available in both EF and PL mount.

Based on the DZOFilm Vespid Primes, the Vespid Retros are modified to produce a more vintage look and feel in the same modern package as the originals. They still provide sharp, high-resolution images with minimal distortion, but with additional flare characteristics and lower contrast image production. They feature the same standardized gear positioning and weather-resistant build as the originals. Available in both EF and PL mounts, these primes are great for filmmakers that want a modern lens with a vintage appeal.

Second Reef’s Coral Anamorphics are a unique set of 1.5x anamorphic lenses in PL mount that feature a special oval iris design which produces bokeh similar to a 2x anamorphic. They cover full frame sensors and produce strikingly beautiful images. The image is sharp, with attractive fall off and anamorphic flares. The lenses are relatively light and small for a full frame anamorphic, and they feature excellent close focus performance and Cooke /i lens data functionality.

Canon’s Rangefinder Primes are rehoused stills lenses from the 60’s. They feature dreamy single-layer coatings that produce beautiful big amber flares and lower contrast images. Their bokeh is a semi-cateye shape in the outer field when wide open. The speed of each lens varies, but each is relatively fast. Each lens is rehoused by TLS modern mechanical designs and standard front diameters. This set includes the iconic Canon "Dream Lens."

Cooke’s SP3 Primes are small lightweight full-frame mirrorless camera prime lenses with cinema optical and mechanical design. They feature Cooke’s well known warmth and excellent optical characteristics, including beautiful bubbly bokeh and pleasing skin tone rendering. Each lens features uniform design, and is available in Sony E-Mount or Canon RF Mount.

The Atlas Mercury lenses are 1.5x squeeze anamorphics designed for full-frame sensors. They combine modern precision with vintage character, rendering beautiful unique images. A semi-cats eye bokeh with a soft, watercolor-like texture and subtle horizontal flares produce images that are unique compared to other full frame anamorphic’s. Each lens features a compact uniform design for seamless handling on set, making them easy to use and reliable.

The Technovision Classic 35-70mm is one of the early full frame anamorphic lenses made by P+S Technik. Featuring a squeeze of 1.5x, the zoom covers large format sensors well. It exhibits unique anamorphic bokeh and horizontal flaring, with pleasing edge fall off and exaggerated character. It feels almost vintage, while still being fairly sharp and modern in its design.

The Ethereal Lens System was designed to create unique optical effects similar to a tilt shift lens. The system includes three lens focal lengths and can produce a variety of tilt shift effects.

Canon’s Cine-Servo line of lenses feature a built in servo handle. The 50-1000mm features a 20x zoom range with a 1.5x extender allowing the lens to reach up to 1500mm. Ideal for wildlife, sports, and documentary filmmaking, it delivers sharp, high-resolution images with minimal distortion, thanks to advanced Canon optical designs. The lens has a constant T5.0 aperture up to 560mm, ramping to T8.9 beyond that. The attached servo unit features precise servo controls for smooth zoom, focus, and iris adjustments.

Released in the 1960’s, the Type SK are still photography lenses rehoused into matched cinema housings. The lenses are sharp, especially for a vintage lens. They produce a pleasing lower contrast image, with smooth bokeh and beautiful warm flares.

The 27-128mm Keslow Renaissance Zoom T3.6 is an enhanced 17-80mm Angenieux Optimo. Using the Optimo as a base lens, our Lens Team modified it to increase various characteristics sought after by cinematographers, such as increased edge falloff and slightly lowered contrast, with a beautiful painterly bokeh. The zoom has been expanded to cover modern, full-frame camera sensors.

The Laowa Rangers are a pair of lightweight full frame zooms. Available in 28-75mm and 75-180mm T2.9, these zooms provide filmmakers with a compact and high quality zoom perfect for steadicam or handheld work. They produce a reasonably sharp and attractive image with rounded bokeh. The two zooms are optically similar in terms of performance and quality.

The Proteus Silver & Amber Anamorphics are a modern Super35 2x anamorphic lens set introduced by Laowa. They offer a sharp and clean image with pleasing skin tone reproduction and minimal optical aberration, all in a robust modern package. Each lens is tuned to a specific colored flare, with the Silver flare model offering a neutral white flare that captures the color of whatever light is producing the flare within the lens, the Amber flare model offering a warmer flare that adjusts the light to the color of the amber coating, and the Blue flare model offering a blue flare from whatever light flares the lens. (Silver Lenses Pictured)

The Genesis Vintage ‘66 Primes are a modern lens featuring state of the art German mechanical design with vintage aesthetics. They render pleasing skin tones, a sharp clean bokeh, and vintage inspired flares while still being optically sharp and flat. All the lenses are quite compact in size and feature a uniform design.

The NEO-AO Anamorphics were designed to emulate vintage anamorphics from the mid-20th century, such as the TODD-AO and Cineovision anamorphics. They use a combination of Cooke Speed Panchro and Canon FD spherical groups married to an anamorphic optic to create their unique look. Each lens is mechanically robust, with uniform gear spacing and bullet proof construction.

The uncoated version of the ZEISS Super Speed offers the same unique look of the Super Speed, but with reduced coatings for more intense flaring and a lower contrast look.

The vintage Leica R lenses have been rehoused by Zero Optik to improve housing mechanics and provide a robust design for cinema use. They still exhibit the same optical sharpness, pleasing bokeh, and smooth fall-off present in their non-rehoused cousins.

The Leitz HUGO primes are an officially rehoused variant of the Leica M 0.8 Prime lenses. They feature the same optical characteristics as the M 0.8’s, including excellent image quality with enough imperfections to be aesthetically pleasing. They reproduce skin tones and render highlights beautifully, while exhibiting an attractive amount of edge falloff. The housings are of modern Leitz quality, with uniform focus and iris gears and an LPL mount. The set also includes an additional 50mm focal length Noctilux model with a faster T1 stop for super low light cinematography.

These Zero Optik Nikon Primes are based on vintage full frame Nikon still photography lenses, but have been rehoused with cinema style gearing on the iris and focus for use on todays modern film sets.