Cine Lenses
The following are cine lenses that I have begun to use since I started filmmaking. You should note that all of the lenses below are available in both PL mount and EF mount as many people have started using cine lenses on their DSLR’s, and many digital cinema cameras have begun to come stocked with EF mounts (such as the EPIC, Scarlet, and C300) due to the popularity over the quality and price point of EF glass. However, cine style lenses, regardless of type of mount, remain a class of their own due to the way they are machined – with filmmaking in mind.
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CP.2 Distagon 18mm T/3.6 | B&H | Mfr. Site |
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VL: The CP.2 lenses give you all of the advantages of cinema glass (T stops measurements, a geared focus ring with hard stops, and sharp optics) for a fraction of the price. Were I forced to start off with a set of only four of these – this would be one of the 4 that I would choose. The 18 is one of the sharpest wideangle lenses you’ll find anywhere – keep in mind that it does not cover a full frame sensor though but will cover the C300 and 7D series sensors. Description: The Zeiss Compact Prime CP.2 18mm/T3.6 Cine Lens (EF Mount) is part of the second generation of CP cinema lenses that were the first to offer full-frame 35mm coverage of large sensor DSLRs (such as the Canon 5D Mark II). |
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CP.2 Distagon 21mm T/2.9 | B&H | Mfr. Site |
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| Description: The Zeiss Compact Prime CP.2 21mm/T2.9 Cine Lens (EF Mount) is part of the second generation of CP cinema lenses that were the first to offer full-frame 35mm coverage of large sensor DSLRs (such as the Canon 5D Mark II). | ||||
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CP.2 Distagon 25mm T/2.9 | B&H | Mfr. Site |
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VL: This is the wideangle lens I use the most by far. It’s excellent for medium wide shots and absolutely sings when it comes to doing tight portraits. Description: The Zeiss Compact Prime CP.2 25mm/T2.9 Cine Lens (EF Mount) is part of the second generation of CP cinema lenses that were the first to offer full-frame 35mm coverage of large sensor DSLRs (such as the Canon 5D Mark II). |
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CP.2 Distagon 28mm T/2.1 | B&H | Mfr. Site |
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| Description: The Zeiss Compact Prime CP.2 28mm/T2.1 Cine Lens (EF Mount) is part of the second generation of CP cinema lenses that were the first to offer full-frame 35mm coverage of large sensor DSLRs (such as the Canon 5D Mark II). | ||||
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CP.2 Distagon 35mm T/2.1 | B&H | Mfr. Site |
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VL: Were I forced to start with a set of four CP.2 lenses – this would be one of the 4 that I would choose. Still photographers should think of this as their 50mm lens (on a full frame camera) and it’s one of the single most popular focal lengths for all of the medium shots in cinema. Description: The Zeiss Compact Prime CP.2 35mm/T2.1 Cine Lens (EF Mount) is part of the second generation of CP cinema lenses that were the first to offer full-frame 35mm coverage of large sensor DSLRs (such as the Canon 5D Mark II). |
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CP.2 Distagon 50mm T/2.1 | B&H | Mfr. Site |
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VL: Were I forced to start with a set of four CP.2 lenses – this would be one of the 4 that I would choose. This is a fantastic lens for MCU (Medium closeup) and CU (Closeup) shots. Description: The Zeiss Compact Prime CP.2 50mm/T2.1 Cine Lens (EF Mount) is part of the second generation of CP cinema lenses that were the first to offer full-frame 35mm coverage of large sensor DSLRs (such as the Canon 5D Mark II). |
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CP.2 Distagon 85mm T/2.1 | B&H | Mfr. Site |
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VL: Were I forced to start with a set of four CP.2 lenses – this would be one of the 4 that I would choose. Gorgeous portrait lens for stars. Description: The Zeiss Compact Prime CP.2 85mm/T2.1 Cine Lens (EF Mount) is part of the second generation of CP cinema lenses that were the first to offer full-frame 35mm coverage of large sensor DSLRs (such as the Canon 5D Mark II). |
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CP.2 Distagon 100mm T/2.1 | B&H | Mfr. Site |
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| Description: The Zeiss Compact Prime CP.2 100mm/T2.1 Cine Lens (EF Mount) is part of the second generation of CP cinema lenses that were the first to offer full-frame 35mm coverage of large sensor DSLRs (such as the Canon 5D Mark II). This is a jewel of a lens – a little tight for some for closeups – a dream for others. I consider this my 135mm (full frame still) equivalent and dream lens to shoot female stars closeup shots. | ||||
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CP.2 Distagon 50mm Macro Cine Lens T/2.1 | B&H | Mfr. Site |
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VL: This is no small lens but wow – it performs stunningly in the macro range. Description: With the CP.2 50mm Makro you can go closer to the object you want to capture while still having a sharp image. The closest distance to the object with a CP.2 50mm Makro is 10" (24cm). |
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24mm T/1.5 L F | B&H | Mfr. Site |
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VL: This would we one of the most common focal lengths I use for cine and at 1.5 – we’re entering the Arri Master Prime range…. I haven’t had a chance to do head to head vs Zeiss yet but will update once I have done some lens tests. Description (from Canon): The EF Cinema prime CN-E24mm T1.5 L F (EF mount) lens offers a compact, consistent lens design and proven Canon lens elements for performance and reliability in professional shooting environments. Intended for the working professional, the EF Cinema prime CN-E24mm T1.5 L F lens has markings on angled surfaces on both sides of the barrel, making it easy to read focus and aperture settings from behind or from either side of the camera. Focus markings can even be switched from standard labeling to metric. The control rings are engineered to maintain the proper amount of resistance with consistent operating torque. |
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50mm T/1.3 L F | B&H | Mfr. Site |
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VL: I haven’t had a chance to do head to head vs Zeiss yet but will update once I have done some lens tests. Description (from Canon): he EF Cinema prime CN-E50mm T1.3 L F (EF mount) lens offers a compact, consistent lens design and proven Canon lens elements for performance and reliability in professional shooting environments. Intended for the working professional, the EF Cinema Prime CN-E50mm T1.3 L F lens has markings on angled surfaces on both sides of the barrel, making it easy to read focus and aperture settings from behind or from either side of the camera. Focus markings can even be switched from standard labeling to metric. The control rings are engineered to maintain the proper amount of resistance with consistent operating torque. |
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85mm T/1.3 L F | B&H | Mfr. Site |
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VL: I haven’t had a chance to do head to head vs Zeiss yet but will update once I have done some lens tests. Description (from Canon): The EF Cinema prime CN-E85mm T1.3 L F (EF mount) lens offers a compact, consistent lens design and proven Canon lens elements for performance and reliability in professional shooting environments. Intended for the working professional, the EF Cinema Prime CN-E85mm T1.3 L F lens has markings on angled surfaces on both sides of the barrel, making it easy to read focus and aperture settings from behind or from either side of the camera. Focus markings can even be switched from standard labeling to metric. The control rings are engineered to maintain the proper amount of resistance with consistent operating torque. |
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LWZ.2 15.5-45mm T/2.6 | B&H | Mfr. Site |
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VL: While this lens will only work on a Canon 7D (it will vignette on the 1D MKIV and not cover the 5DMKII’s full sensor) I have come to love it for documentary / run and gun shooting where you don’t have the time to change lenses. I shot an entire television pilot over a 2 week period and never changed this lens a single time off of my 7D – and that says it all. Unlike a Canon EF Zoom lens – this lens is clearly marked on the focusing ring and accurate. Make sure to check your flange distance with your camera to make sure the focus stays constant as you zoom in and out. While most won’t be able to afford this lens as part of their standard kit – it’s a wonderful rental item for almost any production. This is one of the few EF lens mount zooms out there today (08/2010) and the optical quality if of course superb. Description (from Zeiss): The new Lightweight Zoom LWZ.2 is the first on the market to combine outstanding optical image quality with an interchangeable mount. The LWZ.2 is a cine lens designed for use with HDSLR as well as traditional cine cameras. The interchangeable mount guarantees high flexibility for present and future use in any situation and for a wide range of camera platforms. You can see me talk about the the CP.2 lenses in the video below and specifically about this zoom at the 4:12 mark:
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14.5 – 60mm T/2.6 L S Zoom Lens | B&H | Mfr. Site |
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VL: This is a fantastic all around focal length for drama and incredibly sharp and versatile – I would put this lens up against any other cine zoom lens out there. Description (from Canon): The EF Cinema Zoom lens CN-E14.5-60mm T2.6 L S (EF mount) provides industry-leading wide angle coverage in a 4.1x zoom lens for the Super 35mm format, and is engineered to offer unrivaled optical performance for demanding high-end productions, meeting and exceeding industry standards. |
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30 – 300mm T/2.95-3.7 L S Zoom Lens | B&H | Mfr. Site |
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VL: This is my dream zoom lens – you could literally travel the world with this one lens and 2-3 primes and be set to cover just about anything: drama, nature, sports – you name it. It’s also significantly lighter and smaller than its main competition: The Angenieux 24~290 Optimo and I’d love to do a side by side test of the two. Description (from Canon): Cinema Zoom Lens CN-E30-300mm T2.95-3.7 L S (EF mount) rivals best-in-class zoom magnification and telephoto focal length for the Super 35mm format, and is engineered to offer unrivaled optical performance for demanding high-end productions, meeting and exceeding industry standards.You can see the 30-300mm attached to the C300 throughout the video below.
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Hello! Very good info here in this blog.
How do the Canon cinema prime lenses compare to the Zeiss CP.2? Did you test them? What do you think?
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Vincent Laforet Reply:
February 28th, 2012 at 3:15 pm
No one has had a chance to do side by side tests yet…
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[...] I recently updated the Lenses section of my gear page to include the new Canon CInema EOS zooms and primes. [...]
Super jealous of all the Cine lenses you have! Looking forward to seeing what the Canon Cinema lenses can do as more people get their hands on them.
Do you have any more upcoming projects with the C300?
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Kerraine Reply:
March 7th, 2012 at 5:32 pm
@Vincent Laforet,
Thanks for your view.
Oh and…
I was the last guy to take a photo with ya’ at Singapore’s C300 launch using an iPhone.
Would like to ask some questions on the scene for camera crew in the States but kinda’ think it’s not nice to put it up here.
May I contact you through e-mail ?
Mine’s fringeofreturn@gmail.com if you would.
Thanks !
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Hi Vincent.
I’d like to know if getting the CP.2 Zeiss for Nikon mount then adapting it to Canon would deteriorate the quality of the video/still photo in your opinion.
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Vincent Laforet Reply:
March 7th, 2012 at 1:48 pm
As long as you do it correctly – it shouldn’t have any effect – it’s all about making sure the shims and alignment are correct.
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@Vincent Laforet,
Thanks for your view.
Oh and…
I was the last guy to take a photo with ya’ at Singapore’s C300 launch using an iPhone.
Would like to ask some questions on the scene for camera crew in the States but kinda’ think it’s not nice to put it up here.
May I contact you through e-mail ?
Mine’s
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Vincent Laforet Reply:
March 9th, 2012 at 7:45 am
Sure – production (at) myfirstnamelastname.com
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Hey Vince,
Do you know when these Canon lenses will be available to the public?
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Vincent Laforet Reply:
March 15th, 2012 at 10:17 am
No I haven’t heard of an official announcement…
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Hey Vincent!
I remember you mentioned an app that allowed you to view different focal lenghts at diferent sensor sizes on the ipad.. thats what i remember at least. I cant find it in the blog, can you please tell me whats the name? also, what are your favourite/most used apps for cinema and photography for iphone/ipad? thank you so much for all the info you make available for us!
Cheers!
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Vincent Laforet Reply:
March 27th, 2012 at 1:46 pm
Sure – Artemis. I’ll put a section of my favorite apps soon as well.
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Hi Vincent,
Thanks so much for maintaining a site so rich with valuable information! I, like many others before me I realize, am hoping you might offer some lens purchasing advice. I’ve been shooting (stills, then video) for some time on a variety of cameras most substantially including the 7D. On the 7D I was using a Sigma 30mm 1.4, a Sigma 18-50mm 2.5, a Sigma 70-200mm 2.8 and a Tokina 11-16mm 2.8. I’ve just added the 5D Mark III and need to sell a couple of my cropped sensor lenses and get some full frame lenses. I also envision using something like the C300 or perhaps the Cinema EOS HDSLR when and if it comes out so I’m going back and forth a bit between finding a way to pay for a limited set of cinema primes (most likely the Zeiss CP2s) and simply the L series 24-70mm 2.8, 70-200mm 2.8 IS and maybe the 50mm 1.2. FYI, my favorite focal lengths tend to be very wide and 50mm.
It’s clearly an expensive decision and I’d love any advice! By the way, if you’re curious, you’re welcome to take a peek at the trailer for the doc feature I’m working on finishing by the end of the summer, most of which I shot on the 7D at: vimeo.com/redfitz/starboard-light-trailer
Thanks a million!
Best,
Nick
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Vincent Laforet Reply:
March 29th, 2012 at 2:56 pm
This definitely seems like a “can’t” miss way of doing things: (most likely the Zeiss CP2s) and simply the L series 24-70mm 2.8, 70-200mm 2.8 IS and maybe the 50mm 1.2. FYI, my favorite focal lengths tend to be very wide and 50mm. – go w/ Zeiss for all of your wides… much better optics wide open.
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@Vincent Laforet, Many thanks! I’m thinking about going with three CP2s (from http://www.abelcine.com/store/Zeiss-Compact-Prime-CP.2-3-Lens-Set/#tabs) and then also the L series 24-70mm II. I’d hold off on anything else. The next lenses I’d be interested in though would be a faster lens like the 50mm 1.2 (though holding focus on the 5DIII that wide open would be near impossible) and then probably the 70-200 L with IS but considering how expensive all of that would be I think I’d need to and could hold off on the last two especially given how infrequently I think I’d need them.
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Vincent Laforet Reply:
March 29th, 2012 at 5:22 pm
Sounds like a wise plan!
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@Vincent Laforet, Thanks! Given all that and the cost of CP2s, may I ask, finally, how important you feel they are/would be? It would be difficult or not advisable of course to use them for stills considering no auto-focus too.
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Vincent Laforet Reply:
March 30th, 2012 at 11:29 am
Other than lack of AF and size – they are some of the best still optics u can use. I think CP.2s are best investment u can make! Pls consider getting them thru our gear page as that supports the blog and the people who help me put it together!
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@Vincent Laforet, Thanks again, Vincent. Will do!
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[...] is one thing that is surprising: they are only being released with EF lens mounts. The Zeiss CP.2 lenses have a kit that allows you to swap mounts – from EF to the cinema standard PL mounts. [...]
@Vincent Laforet, I was about to finally pull the trigger on the CP.2s when I realized that using them with a 5D III would require a matte box whenever I’d need to use NDs as there are no screw-on filters for those lenses. That’s a major problem. The majority of the shooting I do is documentary and I want and need to keep as low a profile as possible as well as be very nimble gear-wise. You don’t know of any other way of addressing this do you?
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Vincent Laforet Reply:
April 23rd, 2012 at 10:18 am
Not really – but the c300 has built in nd filters which solved it for me…
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@Vincent Laforet, Thanks. That is one of many great things about the C300 but it’s just not in my price range at the moment.
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@ Vince: first of all thank you for this overview and sharing your experience with your gear & equipment. Following your advise, I started looking into purchasing CP.2′s… Have a few questions since this is a long term investment:
(1.) I understand that – with the interchangeable mount – they can be used on all PL cameras, but when you say (for example) you used them on the RED, did you shoot 1080p, 2k or 4K ?
(2.) How are the CP .2 shooting 2K or 4K ?
(3.) Did you ever had a chance to compare them to any of the new 4K lenses that are hitting the market ?
(4.) I am trying to understand how a 4K (e.g. Canon 4K EF Cinema) lens that is specifically designed to support up to 4096 x 2160 pixels would / could outperform a CP.2 lens (or any other lens for that matter) that is not specifically designed for 4K when you shoot 2k or 4K ? Is the image “sharper” (less blurred) on the 4K lens ?
Thanks again for all your input.
- M
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Vincent Laforet Reply:
April 27th, 2012 at 6:39 am
1. 5K
2. Excellent – incredibly sharp
3. not yet no. Don’t feel the need to given how sharp current results already are – anything sharper would result in having to use classic soft filters on faces
4. supposedly – time and tests will tell
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Aren’t the Zeiss Compact Primes essentially rehoused stills glass? I own a 4 set and they are incredibly sharp.
If they are good enough for full frame film, I think they should be just fine at 4-5K.
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you are a great advisor/mentor and of course a talented filmmaker … thanks for all the infos
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thank you sir, i’m new in the hdslr field and your article help me a lot in understanding the different lenses and their application for film.
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thank you very much sir, i’m new to the hdslr, your article helped me to understand the different lenses and their application.
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i’m investing in lenses to go along with my 5D3 but want to be able to rent them with a local vendor. I’m either purchasing ZF.2 http://www.lockcircle.com/primecircle_xt_sets/ (because i feel their cinemod is the most intensive and versitle mod) or waiting for the new CP.2 Super speeds in august.. any thoughts on the lock circle ZF.2 (~$10k) from a rental perspective? If the CP.2 are preferred, which other lenses would you recommend (most requested) to add to the 35, 50, and 85 T1.5 to make a nice 5 lens package. Is the 18mm out of question because lacks FF coverage (as stated above)
Any assistance is greatly appreciated.
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Vincent Laforet Reply:
July 24th, 2012 at 5:56 pm
I am eagerly awaiting the super speeds… I’d recommend the 15mm CP.2, the 25mm to complete your package… (the 100mm is pretty awesome too…)
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Hi Vincent, the volume of information here is simply incredible!! Question: I’m torn between getting the 5D Mk3 or the Sony FS700. Which of these would you recommend for a documentary filmmaker?
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Vincent Laforet Reply:
August 29th, 2012 at 3:45 am
See the Canon C100 announced just now…
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Hi Vincent,
Just wondering if you’ve had a chance to shoot with the Canon Cinema lenses yet, specifically the 24, 50 and 85? With the price drop and current promo on B&H, they are priced to compete with the CP2s yet have much better aperture possibilities. If you have, what do you think?
I saw your comments above (that you hadn’t done side-by-side comparisons with the CP2s) but that was a few months ago.
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Vincent Laforet Reply:
October 30th, 2012 at 12:39 am
I get to play with them Weds actually…
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Hi, Vincent I am a big fan of yours here in Nigeria. I am also into documentaries and film making. I am really interested in the Canon Cinema Primes. I think we need some sort of video review & tests on those lenses. They look cool & have better apertures than even the CP.2 Super speed. But we’d love to see a video and review of the Canon Cinema Primes. Even if not a comparison.
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Vincent Laforet Reply:
November 7th, 2012 at 10:59 pm
They are pretty spectacular. I would love to test them against the Master Primes…
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Hi Vincent,
I have the possibility of getting a set of Cine-Xenar lenses (version II with the external focusing (barrel moves forward)) at an incredibly good price. Like $12.8K good for a set of 5, which is very cheap considering they were at $30K two years ago. The thing is of course they don’t cover FF and are quite large and heavy. Great for work with my F3, but not possible with my 5DMIII, so less flexible, but of course telecentric and beautiful bokeh. Had been thinking on CP.2′s or the Canon primes, which would be twice as expensive for a 5 set. Wondered how these two latter sets would compare in your opinion to the Xenar MK II’s?
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Vincent Laforet Reply:
November 28th, 2012 at 12:22 am
Grab the set based on price!
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@Vincent Laforet,
Hi Vincent,
Just wanted to let you know, that it looks like I will be getting that set, but in case either you or anyone else is interested I have found a second set in perfect condition at a very close price here in Paris. Just let me know if that floats anyone’s boat. Very sharp lenses and incredible bokeh.
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Hi, Vincent.
I was wondering, what do you think of the Rokinon cine lenses?
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Vincent Laforet Reply:
March 30th, 2013 at 1:28 pm
HAven’t had a chance to shoot with them but a DP friend of mine wrote about them: http://serw.clicksor.com/newServing/links.php?zone=0&chad=1&adu=2&cs=&adtype=5&nid=1&sid=508633&pid=308374&spid=&image=2&memkey=636cd452afdff5a7587e19ab0ba4c473&durl=&lq=0&lb=1&qp=YF4lITN8IS19-SE1fiEsIvFjZU4wLH0gJi98_GpVJSEtfiUwIPwlLH0pJyQgJDIjKiz3XGM5_iYtIn0nMXwkLA
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Hi Vince,
checking back on my question from about 8 months ago whether you had a chance already comparing the CP.2′s with the new 4K lenses or the Canon Cinema Lenses ?
Thanks and Happy new Year !
- M
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Vincent Laforet Reply:
February 18th, 2013 at 7:13 am
Neither I nor anyone I know has done a “scientific” side by side test… I did a quick one and found that both held up quite similarly – although the Canon Cinema lenses open up a few more stops… It’s really a tough call given that ability to change mounts w/ the CP.2 lenses and the inability to get the Cine Primes to do that…
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Hey Vincent, great page here, really useful. I know you used the 30-300 Canon Cine zoom on Mobius (Awesome film by the way). Did you use any of the Canon Cine primes? I’m looking to get a set of cinema primes and the Canons seem to fit the bill, especially with the two new announced ones (14 mm and 135 mm), but I wondered if you thought they were any good, or if you had used them at all. My other options for a set would be 4-6 of the Zeiss compact primes, or the Schneider Cine-Xenar III’s. Any opinions on that?
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Vincent Laforet Reply:
February 18th, 2013 at 6:53 am
The Canons are awesome – I haven’t see the 14 or 135mm live yet. Honestly you can’t go wrong w/ any of the ones you mentioned… Canon open up to 1.3-1.5 region so their bright. Zeiss CP.2 have interchangeable mounts which can be a big plus. Xenars are awesome but heavy. If I bought… I’d likely buy Cookes… but everyone that buys the T 2.8 Cookes seems to go to the more expensive T2.0 Cookes quickly… so in the end… I rent!
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