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• Fujinon Duvo Zooms (Super 35)

  

  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.

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• Gecko-Cam Genesis Opia Primes

  

  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.

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• Optika Elite Prime

  

  The 12mm Elite offers cinematographers the ability to achieve a fisheye look. While this lens is extremely distorted due to its wide nature, it's a perfect fit when the effect is desired.

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• DZOFilm X-Tract Probe

  

  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.

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• Canon FD (Whitepoint Optics Rehoused)

  

  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.

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• Lomo Round Front Anamorphic Lenses (TLS Rehoused)

  

  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.

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• ASC Todd-AO 65mm Primes

  

  Originally built in the early 1950s, the legendary Todd-AO 65mm Primes helped create such classics as Oklahoma!, Around the World in 80 Days, The Sound of Music, South Pacific, Cleopatra, The Alamo, Hello, Dolly! and Patton. After decades in disrepair, they were eventually donated to the American Society of Cinematographers, and forgotten in the ASC Clubhouse basement... until now.

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• ARRI ALEXA 35 Xtreme

  

  ARRI builds on the legacy of their Xtreme camera line with the introduction of the ALEXA 35 Xtreme. Opening up a variety of high speed frame rates using the new Sensor Overdrive Mode and ARRICORE Codec, the 35 Xtreme improves on all aspects of the original ALEXA 35 without sacrificing size or weight. The Xtreme also reduces power consumption by 10% and improves a variety of other features such as pre-record time and Wi-Fi performance.

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• Nikon Nikkor AI-S (Whitepoint Optics Rehoused)

  

  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.

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• NiSi Aureus Primes

  

  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.

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