In short, no, we are not. The final build of your lenses won't handle like a Lomo, Kowa or Atlas anamorphic lens, say, where you mount the lens in the camera's PL mount and you're done. These lenses are for you and your work primarily, and they aren't a fully machined solution and you won't be able to rent them out.
Think of it like the Sigma Cine lenses. It's the exact same glass as the stills lenses, but they're 6x the price. For some people the more robust build quality is worth the price hike, and for some it's not. If you're a rental house or a feature film DP, I don't think my course is for you. If you're an owner/ operator DP, director, you shoot music videos; short films, weddings or even if you don't get paid to make films but you just want a kickass look that massively hikes your production value - this is for you.
So, yes, you'll have a solid and reliable setup, but these lenses aren't built like a single cine lens.
The good news is though, that you're going to be able to add a focal length to your set for as little as £50, instead of $9,000 per focal length (at a minimum). Now, those are rental-grade anamorphics and absolutely worth the money; they are the cheapest, fully built out anamorphic lenses going. But there's a huge gap between a new focal length costing you £50, and costing you £7,500, and that's what this course fills!
Additionally, you can mount them on any camera in the world, with the right choice of spherical lenses: EF Mount, Micro 4/3, Sony E mount, Fuji X mount, Panasonic L mount and so on. And in that sense, this setup is way more flexible than a regular PL mount lens, where the cameras you can use are limited.
For that, you'd need a metal workshop and a degree in engineering. But don't let that restrict you; the modular nature of this system is in my opinion the best part about the whole experience. I'll talk more about that below.
What we're doing will never replace a beautifully machined lens like a Cineovision, Cooke or Hawk anamorphic. Our lenses are a completely different ethos, market segment and build quality. If you get the opportunity to shoot with those lenses you should leap at it, but my hope with this course is that more filmmakers fall in love with anamorphic and that I can help to further reduce the price barrier to entry, so that when the time comes and the project is right, you'll be comfortable renting from the big players; and in the meantime, your reel will step up to the next level.