In recent years there has been quite a bit of progress in the realm of cinema lenses, mostly on the lower end of the price scale. While they are still more expensive than their still photography equivalents, several manufacturers have been making much more affordable cine lenses with very solid features and great quality. However as is generally the case, you get what you pay for. The higher end cine lenses on this list are outstanding and if you can afford them definitely go that route. If however your budget limits you to the lenses in the medium or lower end of the scale, fear not, you are still getting a fine lens.
By Alex DePew
I love working with cinema lenses. Arri Super Speeds, Schneider Cine-Xenars, Zeiss Compact Primes, Cooke S4 Primes. These are beautiful lenses. While in theory they perform the same function as my still lenses, there is a massive difference both in quality and features. Cinema lenses are the lenses every video or film shooter lusts after when they are on the way up–and when we eventually get to the point where someone else is footing the bill for us to use these lenses we can get positively giddy!
Cinema lenses differ from lenses designed for still cameras in many key ways. They are bigger, heavier, have a larger barrel built for a follow focus with a longer rotation for precise focus pulling, there is a click-less aperture ring and the lenses are made with an extremely high quality build. There are generally more aperture blades for a more pleasing bokeh. The cinema zoom lenses are parfocal, have constant and large maximum apertures and are also built to exacting standards. Prime cine lenses made by the same manufacturer generally have the same barrel size or very nearly so, which allows for quick lens changing on sets without having to reset the matte box as well as other accessories, which speeds up the production. The lenses do not use F-stops they measure T-stops which is much more accurate as it accounts for the light transmission after the loss of light through absorbance and reflectance.
High End
Fujinon 19-90mm T2.9 PL Mount Cabrio Compact Zoom Lens
This is a beauty of a lens that is ideal for ENG style shooting as well as cine shooting. This cine zoom allows for excellent quality while also being a great time saver. When you need to move quickly, not having to switch out primes is a great way to save time. The Cabrio is versatile and light, covering from 19mm to 90mm and weighing in at only 5.95 lbs with the handgrip attached and 4.85 lbs without.This lens can do double duty as both an ENG and a Cine lens. The removable handgrip has three servo motors for zoom, focus and aperture. This lens is incredibly sharp and far surpasses the expectations most cinematographers have in regards to zoom lenses. In terms of sensor coverage, the Cabrio covers Super 35 and will work with 4K cameras. This is a very capable lens that will allow you to switch between film style shooting and ENG style shooting very quickly.
All of Canon’s cine zoom and cine-servo lenses allow for 4K shooting and come in EF or PL mounts. Their prime lenses however are available only in an EF mount. Canon is new to the high end cinema lens game, but they are certainly not new to making lenses. Their prime lenses are exceptional and can cover a full frame sensor as is found on the 5D Mark III. The gears on all the primes are the same distance from the focal plane and the front hood on all the lenses are 114mm. The distance settings are on both sides which is a great feature for a focus puller as well as the operator. These lenses have excellent color and an 11 blade aperture which makes for gorgeous bokeh. When purchased as a set there are significant deals to be had.
Zeiss has built their name on the sharpness of their lenses. Their compact Prime CP.2’s are no exception as they are tack sharp. These lenses are geared towards independent filmmakers and the price of these lenses put them within reach of filmmakers with lower budgets. These are great bang for the buck lenses. You get great lenses that offer tremendous image quality with excellent build quality that will last a lifetime. There are 14 lenses in the line, all cover a full frame sensor, have a 114mm front hood and the focus marks are on both sides. Another great feature of these lenses is that the PL mount can be exchanged to work with EF, F, E and MFT mounts making them extremely versatile and useful in many different shooting environments.
Mid-Range
Tokina Cinema AT-X 11-16mm T3.0 Lens for Canon EOS HDSLR Cameras
This is the cinema version of the very popular Tokina 11-16mm f/2.8 AT-X 116 Pro DX stills lens. This lens was so popular and sought after by filmmakers that many people purchased the lens and then sent it to a third party to have it re-engineered as a cinema lens. Tokina took notice and created their own cinema T3.0 version of their stills lens. However they didn’t simply rehouse the lens, they reinvented the lens to be a proper cine lens. The cine version has reduced the breathing and focus shifting found on the stills lens. This is a great lens that is made for Super 35 and APS-C crop sensors.
Low End
I don’t actually understand how Rokinon is offering so much lens for such low prices. Many of these lenses are full-frame capable lenses and many of the standard focal lengths are super-fast at T1.5. The focus measurements and T stop marking are all on the side, as they should be for a focus puller. The lenses have industry standard gearing to be used with a follow focus. The throw of the focus ring is very smooth, the images are punchy and sharp and the value is outstanding.
SLR Magic is true to its name in producing magic at the lower end of the cine price scale. They make cine lenses for MFT cameras as well as E mount, X mount and Leica M mount. Many of these lenses are insanely fast, especially the 35mm T0.95 Hyperprime. There are also ultra-wide options such as the 10mm T/2.1 Hyperprime. These lenses (except for the SLR Magic Noktor 50mm T/0.95 HyperPrime Cine Lens – Leica M Lens Mount) are all under $2,000.00, with many under $1,000.00. That is truly a bargain for a cinema lens.
