There’s something inherently bold about launching a new lens series with a 16mm, especially when that lens is designed to cover a 65mm image circle. NiSi’s latest announcement, the 65 PRIME 16mm T2.9, isn’t just another ultra-wide. It’s a statement of intent. And having seen an early prototype firsthand, it’s one that carries more weight than you might expect.
NiSi’s early ventures into cinema optics weren’t without friction. There were design decisions that didn’t fully resonate with working cinematographers, and the brand had to earn its footing the hard way. That said, we don’t need to revisit those growing pains in detail. What matters now is trajectory. With the Athena and Aureus primes, NiSi demonstrated a clear ability to listen, refine, and deliver tools that feel grounded in real production needs. The 65 PRIME 16mm T2.9 builds on that momentum, but instead of taking a conservative step forward, NiSi has chosen to tackle one of the most technically demanding categories in modern lens design: large-format ultra-wide.
65mm Coverage in a Shockingly Compact Package
It’s also worth addressing the ongoing confusion around format terminology, largely thanks to ARRI and its decision to brand full-frame sensors as “Large Format.” In practice, this makes it unnecessarily difficult to communicate what lenses like this are actually designed for. When we say “large format” in 2026, are we talking about full-frame, or true 65mm coverage? At this point, the distinction has been blurred to the point of frustration, especially when a lens like this clearly operates in a different category altogether.
The headline specification is difficult to ignore. The lens covers an image circle of 65mm and delivers a field of view exceeding 122° on ALEXA 65 Open Gate. That kind of coverage places it firmly in a niche category that has historically been defined by large, heavy, and often cost-prohibitive optics. On paper, NiSi’s claim that the lens weighs just 846g with a 95mm front diameter feels almost counterintuitive given the optical demands of that coverage.
In practice, however, the compactness is very real. This is one of the smallest cine lenses currently capable of covering a full 65mm sensor without compromise, and that has immediate implications for how large-format cameras can be used in the field. Handheld work, gimbal operation, and even drone applications become far more practical when the lens itself isn’t dictating the limitations of the rig. Large format cinematography has traditionally required trade-offs in size and mobility, but NiSi is clearly working to minimize those constraints in a meaningful way.
Optical Claims vs. Reality
NiSi makes several assertive claims about the optical performance of the 65 PRIME 16mm T2.9, including APO-level chromatic aberration control, minimal distortion, and strong center-to-edge resolution. These are the kinds of statements that typically warrant skepticism, particularly when paired with a relatively compact form factor and an expected competitive price point.
What’s notable here is that our early testing suggests those claims are not only ambitious but largely accurate. Resolution holds together impressively across the entire image circle, maintaining clarity even at the edges where large-format ultra-wides often begin to fall apart. Chromatic aberration is tightly controlled, both axially and laterally, aligning closely with NiSi’s description of APO-level correction. Perhaps most surprising is the level of distortion control. At 16mm with this degree of coverage, one would expect visible barrel distortion or geometric inconsistencies, yet straight lines remain well-disciplined across the frame.
This level of correction is not merely a technical achievement… it has practical implications. For architectural work, interior cinematography, and VFX-driven productions where clean geometry is essential, the ability to rely on a lens like this without extensive post-correction is a significant advantage. I have to keep reminding myself that this may all be expected of your average S35 or FF lens, but we’re talking about 65mm coverage!
Opto-Mechanical Design Choices
Mechanically, the 65 PRIME 16mm T2.9 introduces a straightforward, production-friendly design that aligns with established cinema standards while avoiding unnecessary complexity. The 65 PRIME line will come equipped with a native PL mount, ensuring compatibility with industry-standard camera systems from the outset. Focus and iris control follow suit with standard 0.8 MOD / 32 pitch gearing, making the lens immediately usable with existing follow-focus systems and motors. NiSi has also opted for a 300° focus rotation, which is a notable inclusion on a lens this wide. Ultra-wide focal lengths often sacrifice focus precision due to compressed focus scales, but the extended throw here suggests an effort to maintain fine control, particularly important when working close to the lens’s minimum focus distance. The 95mm front diameter further reinforces its integration into existing workflows, allowing compatibility with common matte boxes and filtration setups without additional rigging considerations.
The aperture system features a 10-blade iris spanning T2.9 to T22, designed to maintain consistent rendering across the range. While shallow depth of field is not typically the defining characteristic of a 16mm, the combination of a relatively fast aperture and a close-focus distance of 0.25m introduces more creative flexibility than expected. NiSi has also incorporated luminescent focus and aperture markings, a small but practical detail that improves legibility in low-light environments and reflects a consideration for real-world shooting conditions. Notably absent from the provided materials is any mention of electronic contacts or lens metadata support, suggesting that the 65 PRIME series is, at least for now, a purely passive design. One important physical consideration is the rear element, which protrudes significantly and has a notably bulbous profile, requiring extra care when mounting or removing the lens to avoid accidental contact with the camera’s sensor or internal components. While NiSi does not formally specify the housing materials, the prototype unit we handled featured a clean anodized aluminum finish rather than the painted exterior seen on the Athena and Aureus lines, a subtle but welcome shift that lends the lens a more refined and utilitarian feel.
A Curious, Bold Starting Point
What makes this release particularly compelling is the decision to introduce the 65 PRIME series with a single lens. …and not just any lens, but a 16mm! This is not the typical approach taken by manufacturers entering uncharted waters. More often, we see a balanced rollout of focal lengths designed to cover a wide range of use cases from the outset.
Established options in the 65mm space, such as the Leitz Thalia primes or the forthcoming Cooke Panchro 65 series, follow a more traditional path, building out cohesive sets over time. Even smaller manufacturers exploring large-format coverage tend to prioritize more neutral focal lengths before venturing into extremes. NiSi has taken the opposite approach, choosing to begin with what is arguably the most difficult focal length to execute well.
This decision feels intentional. By tackling a 16mm first, NiSi is effectively demonstrating confidence in its optical design capabilities. If a lens of this complexity can be executed at a high level, it sets a strong foundation for the rest of the series. It also signals to the market that NiSi is not merely participating in the large-format space but actively pushing its boundaries.
Pricing & Availability
The NiSi 65 PRIME 16mm T2.9 is slated to begin shipping in May 2026, marking the official debut of the 65 PRIME series. The lens is priced at $2,799, which, given its coverage and performance, positions it aggressively within the larger-than-full frame market. Orders will be available through Duclos Lenses, making it readily accessible to working cinematographers and rental houses alike.
At the time of writing, NiSi has not announced a release timeline for additional focal lengths in the 65 PRIME lineup. While this first entry lays a strong foundation, the pace and direction of the rest of the series remain an open question. …One that will ultimately determine how impactful this system becomes in the broader large format ecosystem.
Final Thoughts
The NiSi 65 PRIME 16mm T2.9 is, by any measure, an unconventional starting point. It is not the safest choice, nor is it the most immediately practical focal length for everyday use. However, it is precisely this willingness to take on a challenging design that makes the lens noteworthy. Rather than easing into the large-format market, NiSi has chosen to confront one of its most complex problems head-on, and the result is a lens that not only meets its stated goals but, in several respects, exceeds expectations.
It establishes a clear direction for the 65 PRIME series and positions NiSi as a manufacturer willing to take calculated risks in pursuit of meaningful innovation. If NiSi executes the rest of the 65 PRIME set with the same level of discipline and optical consistency, this could very well become one of the more compelling large-format options available. In fact, it may end up being the closest modern equivalent to the convenience and usability of the Mamiya Sekor C primes in a true medium format context – an admittedly high bar, and one that will ultimately take time to evaluate. For now, consider this a strong and unusually confident foundation.
If the 65 PRIME 16mm suits your needs, you can support this website and pre-order directly from Duclos Lenses here. Lastly, for the lens geeks, as always, here are the tech specs:
| Focal Length | 16mm |
| Aperture Range | T2.9 – T22 |
| Iris Blades | 10 |
| Format | 65mm Format |
| Imaging Circle | Ø65mm |
| Lens Mount | PL (ARRI) |
| Minimum Focus Distance | 0.25m (10″) |
| Maximum Magnification | 0.12x |
| Focus Gear | 0.8 MOD / 32 Pitch |
| Focus Rotation | 300° |
| Angle of View (ARRI ALEXA 65 / 265 Open Gate) | Diagonal 122.2° · Horizontal 117.2° · Vertical 74.3° |
| Angle of View (FUJIFILM GFX ETERNA 55 Open Gate) | Diagonal 118° · Horizontal 105.9° · Vertical 89° |
| Filter Thread | 92mm |
| Front Diameter | φ95mm |
| Length | 78.53mm (front to flange plane) |
| Dimensions | φ95 × 78.53mm |
| Weight | 846g (excluding front and rear caps) |
| Body Material | Anodized Aluminum |
| Data Protocol | Passive |