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ZERØ OPTIK, LLC

@zerooptik

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Based in Los Angeles, California, Zero Optik designs fine lens rehousings and tools for cinematography.
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ShotDeck x ASC Lookback | Widow’s Bay, Episode 6 @shotdeck The ASC Todd-AO 65 lenses, developed by the ASC and @zerooptik and available to rent at @keslowcamera , made their debut on Episode 6 of Widow’s Bay, where Christian Sprenger, ASC @casprenger , used them to set the 1702-set stand-alone episode apart from the rest of the series. Sprenger won an Emmy Award for shooting the episode. He received the lenses only days before production began and has said he was exploring their character in real time as the shoot progressed. Sprenger shot the episode on the Arri Alexa 265 at 3,200 ISO, lighting interiors and night sequences with period-correct candles and firelight. For Sarah and Richard’s wedding in a church, he hung two LiteGear LiteMat Spectrum 2Ls above the set for base room tone, with practical candelabras on the walls and flame bars out of frame. Read the full article in the October issue, available at the link in bio. @american_cinematographer #ShotDeck #ASCToddAO65 #WidowsBay #AppleTV by @zerooptik
𝗔𝗦𝗔𝗛𝗜 𝗦𝘂𝗽𝗲𝗿-𝗧𝗮𝗸𝘂𝗺𝗮𝗿 𝗣𝗿𝗶𝗺𝗲𝘀. A very special set of vintage lenses developed by cinematographer Markus Forderer, ASC in collaboration with ZeroOptik. After testing over 540 lenses for @cinelensflares every now and then I came across a lens that revealed something really special in the way it captured light. I finally put everything I've learned into this project. With the help and expertise of Alex Nelson and the team at ZeroOptik I was able to make this custom set of lenses with all the characteristics I personally respond to. No detuned modern glass, but carefully sourced vintage lenses from the 1960s, selected for their unique rendering of faces, warm skin tones and distinctive bokeh. This 8-lens set with single-layer coated glass captures light with beautiful, warm golden flares. The glass has been custom-tuned to interact with light in each scene, adding a unique analogue texture to the image. The set spans focal lengths from 15mm to 85mm, all lenses offering coverage beyond Full Frame. Smooth cam-focusing system in a lightweight and compact form factor. PL mount with lens-identification metadata. I am very excited about the outcome. If you are curious to test this set for your next project, it is exclusively available at Camtec in Los Angeles. by @zerooptik
Something I've been cooking 👀 Single-layer Gold Coated glass from Japan. Tuned to add a unique texture to the image. More soon.. by @zerooptik
UPDATE! Yes, that is a TAMASHII prime mounted to a Ronin 4D, using DJI’s follow focus system. We can fly many @zerooptik lenses on our DJI Ronin 4D kits. It’s possible thanks to some small modifications and customs pieces. Many Zero Optik primes are small and light enough to use, including many focal lengths from these Zero Optik sets: • TAMASHII • Canon FD • Olympus OM • Pentax Super Takumar • B&L Baltar • B&L Ultra Baltar We have MANY great lens options for this camera system with more on the way! #ronin4d #zerooptik #tamashii #vintagelenses #rehousedlenses by @zerooptik
Elodie Tahtane, AFC, won the 2026 @afc.cinema Award for “Outstanding Cinematography of a 1st or 2nd feature film” with ‘Winter in Sokcho’. Entries for the 2027 edition are now open worldwide, including, for the first time, a Cinematography Award for Music Videos. Deadline October 4th. NB: subscribing women cinematographers in all categories will also be proposed to take part in the AFC Spotlight Award. Submission info - @afc.cinema link in bio ‘Winter in Sokcho’ 🔎1- NIKON AI/AI-S 58mm T1.3 Zero Optik Rehoused 🔎2- NIKON AI/AI-S 58mm T1.3 Zero Optik Rehoused 🔎3- NIKON AI/AI-S 35mm T1.5 Zero Optik Rehoused 🔎4- NIKON AI/AI-S 85mm T1.5 Zero Optik Rehoused 🔎5- NIKON AI/AI-S 58mm T1.3 Zero Optik Rehoused 🔎6- NIKON AI/AI-S 85mm T1.5 Zero Optik Rehoused 🔎7- NIKON AI/AI-S 58mm T1.3 Zero Optik Rehoused 📹 ARRI Alexa Mini LF Dir. @koyakamura DP. @elodietahtane DP Agency. @apicorpagency Screenplay. @stephanelycuong & @koyakamura Adapted from the novel by @elisashuadusapin Starring: @bella1706_ & Roschdy Zem Animation scenes. @agnespatron 1st AC. @peteryoon0213 AC. @jiilin._.a DIT. @nixo19 @rvzparis @be4post Production. @offshorefilmsfr @fabpc @keystonefilmsprod @namys @laura.lestrade1 @sseni01 @100_seung_5 @toay145 @nathaliesgl instantena 1st AD. @jawahine.z and AD team. @7byeol.kim @flim_himehosi.0 Script supervisor. @amandinederdoukh Production Design. @hyeinki, assistant art director kimjyuk @all_g00ood @junam_ee Sound. Martin Sadoux and Boom @ourmus @k_yyoungjin Light/Grip crew. @daynight_company @thehost9 @sanghun_lee_lite @wwoynn @ekfhdh @yk_haa @yvin2 @dora2_photography @mang89.12.27 MUA. @_magalimarchand_ Location Managers. @gimhanseol1 @f7muse Editing. flandreantoine, assistant @awolfatthemovie Original Soundtrack. delphine_malaussena Animators. @anna_budanova_a @lopigne @laroncegatti @astrid_guinet @vaiana.gauthier Paintings. @rosalieloncin @loladegove @anna_budanova_a #CeriseLopez #AdrienneNowak Sales. @diaphana @be_for_films . . #lensaddiction #nikon #afc by @zerooptik
Gorgeous work from Michael Bauman @baumanlights for Netflix’s “Monster: The Lizzie Borden Story.” Michael had an eclectic mix of lenses for Season 4, but one of the primary sets was our vintage @zerooptik rehoused Leica M primes. The 35mm T1.5 Summilux, 50mm T1.1 Noctilux, and 90mm T2.1 Summicron were workhorses for Michael. These lenses have the perfect balance of performance and character for modern digital sensors, and they are extremely flattering on your subject. You can get surprisingly good results wide open, for such fast, vintage lenses. The set is also extremely consistent from focal length to focal length, delivering lovely bokeh, and gorgeous flares. They are addictive. Monster is streaming now on Netflix. Multiple sets if these Zero Optik rehoused vintage Leica M primes are available at OLD FAST GLASS. #leicam #leicanoctilux #leicasummilux #rehouusedlenses #vintagelenses by @zerooptik
NEW GEAR! @zerooptik rehoused Pentax SMC Takumar 15mm T4 has been added to our vintage Pentax lens set. This is now the widest lens in the set. It’s an ultra-wide rectilinear lens, not a fisheye. The coatings are a perfect match for the color, contrast and lens flare character of the rest of the set. These Full Frame Pentax primes are medium contrast, and are surprisingly sharp for older lenses. They produce beautiful warm lens flares, and bokeh is soft, with some unique texture to it. For comparison, they are not quite as expressive as Canon Rangefinder / Type SK, but they are also not as modern as Canon FD, Minolta Rokkor, or Olympus OM. They fit nicely between those worlds. The set also includes a first of its kind 25mm T2.3, based on original Pentax optics, which makes this a much better set for cinematographers, and a perfect match to the rest of the primes. The entire set features Zero Optik’s new Name Tag mounts which transfer lens data to the camera including lens make, model, focal length, max T stop and serial number. Available now to rent at Old Fast Glass. #vintagelenses #rehousedlenses #zerooptik #pentaxlens #fullframe by @zerooptik
I had the opportunity to test the newly restored 𝗔𝗦𝗖 𝗧𝗼𝗱𝗱-𝗔𝗢 𝟲𝟱 lenses at Keslow Camera. This one-of-a-kind set was meticulously restored and rehoused in close collaboration between Alex Nelson of ZERO OPTIK and the American Society of Cinematographers. Only a very small number of Todd-AO 65 lenses were made in the 1950s and 60s for the Todd-AO 65 large format wide-screen system. Not to be confused with the more common Todd-AO anamorphic lenses for the 35mm format. The Todd-AO 65 lenses were designed to cover 5-perf 65mm film. The widest lens in the set is an 18mm, which allows for an extremely wide horizontal field of view of 111.3° on 5-perf film or the Alexa 265. This is comparable to an 8.5mm lens on Super 35. The lens coatings produce soft veiling glare when flared by a bright light source. The veiling glare blends with the underlying image, creating desaturated, muted colors and gentle skin tones. Great for capturing images with a timeless appeal. You can now compare the unique ASC Todd-AO 65 lenses for free on CineFlares.com @the__asc @american_cinematographer @zerooptik @keslowcamera by @zerooptik
Ushering in the weekend with a photo of this legendary Nikon AF-D 28mm f/1.4 right before it shipped out today 😎 by @zerooptik
When nine vintage Todd-AO primes resurfaced in the ASC’s historic Hollywood Clubhouse, they were covered in dust, their irises seized by water damage and focus rings frozen. Shelly Johnson, ASC spearheaded the Society’s restoration effort with Zerø Optik, preserving the lenses’ character while making them practical for contemporary large-format work. Originally crafted for the Todd-AO widescreen system in the early 1950s, the set spans 18mm through 135mm and supports PV, PL, and LPL mounts via interchangeable housings. All but the 18mm share a 95mm front diameter for fast, seamless swaps on set. Greig Fraser, ASC, ACS, @greigfraser_dp who advised on tuning the primes, described them as buttery smooth glass that softens a digital image without making it look broken. The set made its debut on “Our History,” a Widow’s Bay episode that earned Christian Sprenger, ASC a 2026 Emmy nomination, shot on the Arri Alexa 265 and lit predominantly with firelight, torches, and candles. The ASC Todd-AO lenses are now available to rent at Keslow Camera @keslowcamera . Read more at the link in bio. #Cinematography #ASC #ToddAO #ZeroOptik #KeslowCamera by @zerooptik
The ASC Todd-AO Lenses, a set of nine vintage primes originally crafted for the Todd-AO widescreen system developed by Mike Todd and the American Optical Company in the early 1950s, were rediscovered in the ASC’s Hollywood Clubhouse and restored by the Society and Zero Optik. Spearheaded by @shellyjohnsonasc , ASC, the refurbishment pairs the character of classic optics with contemporary housings built for PV, PL and LPL mounts, adapting the lenses for today’s large-format workflows. ‘Widow’s Bay’ - S01E06 🔎1- ASC Todd-AO 50mm T2.2 Zero Optik Rehoused 🔎2- ASC Todd-AO 60mm T2.1 Zero Optik Rehoused 🔎3- ASC Todd-AO 80mm T2.9 Zero Optik Rehoused 🔎4- ASC Todd-AO 28mm T3.7 Zero Optik Rehoused 🔎5- ASC Todd-AO 60mm T2.1 Zero Optik Rehoused 🔎6- ASC Todd-AO 40mm T2.8 Zero Optik Rehoused 🔎7- ASC Todd-AO 40mm T2.8 Zero Optik Rehoused 🔎8- ASC Todds-AO 50mm T2.2 Zero Optik Rehoused 🔎9- ASC Todd-AO 50mm T2.2 Zero Optik Rehoused 📹 ARRI Alexa 265 Dir. Ti West DP. @casprenger Production Designer. @steve.arnold.design 1st AC. @liamsinnot 1st AC. @nolanball A Cam Op. @mfyuchs B Cam Op. @johnnygtimes A Cam 2nd AC. @jeff_dickerson B Cam 2nd AC. @john.f.mccarthy . . #lensaddiction #asctoddao by @zerooptik
I recently shot some demo footage with the newly restored ASC Todd-AO Large Format 65 lenses. They are remarkably smooth and creamy, with an elegant rendering of color that feels both natural and expressive. The lenses have a polite amount of contrast that takes-on high ratio lighting in a nuanced way and concludes with a beautiful sharp snap at the focal point. They responded beautifully to a wide range of looks. I tested them with numerous LUTs across varied lighting conditions and color palettes, and I loved their subtlety and quiet swagger. Flesh tones, in particular, were rendered with extraordinary color depth. They are rare and historically significant… the opposite of nostalgic. Are one-of-a-kind and have a soul to them. As with many older lens sets, each focal length reveals its own personality and strengths. The reward comes from spending time with them—learning their character and discovering how each one can elevate the visual language of any project. I believe the inspired relationship between an artist and their tools is fundamental to cinematography. I felt that when I committed to these lenses with belief and intent, they seemed to respond in kind, offering not only expressive images but a spirit, humanity, and timelessness that is difficult to capture any other way - and impossible to manufacture. @the__asc @american_cinematographer @keslowcamera #toddao @pictureshop by @zerooptik

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