What an exciting past couple of years we’ve had right? I mean regarding lenses. You got that? Okay good.
Yes, even in the past year alone we have had some incredible new products come out that have showcased the evolution of the cinema lens technology. Compact full frame cinema lenses have gained popularity for their portability, optical quality, and ability to deliver stunning visuals without compromising on performance. Never before have quality optics and this much variation between them been accessible to filmmakers. We pulled a few options in this category from our inventory to take a look at what they have to offer you.
To preface, this list only contains a few of the many Full-Frame/Vista Vision lenses on the market. Including s35 and even anamorphic lenses for sale would be exhausting and we don’t have enough coffee around today. We’ll save them for future blogs though. Stay tuned for that.
Now, let’s dive in.
Table of Contents
- The Lens Lineup
- Cooke SP3
- Dulens APO Mini
- DZOFilm Vespid
- Meike Cine Primes
- Nisi Athena
- Zeiss Nano Primes
- Conclusion
The Lens Lineup
Cooke SP3
Released in September 2023, the Cooke SP3 Primes marked a significant shift in lens design and validation of mirrorless mount potential from a major legacy brand. Utilizing mirrorless design ethos, the SP3 primes are built to be as compact and versatile as possible. Their size allows smaller footprint builds that can be positioned practically anywhere regardless of space. Marketed as high-end lenses, reflecting their reputation for exceptional optical performance and build quality. Going back to mount options for a moment. We do appreciated Cooke for letting users choose one additional mount with the purchase of a full set. It really helps if you are going in between different camera systems or if you plan on renting them out.
The Cooke SP3 are easily operated with a generously large focus gear that can accommodate follow focus systems as well as by hand in single operator situations. Anyone familiar with other Cooke lenses will feel at home with the freeness in focus and iris gear movement. We enjoy their playful yet sophisticated character. It’s the Cooke-look. How could we not? If you are looking for lenses that will massage the look of your digital image into something more organic these are the way to go.
All in all, the SP3s fit nicely within the Cooke catalog. There are some that will ache for a pl-mount version, but we have to recognize where these are positioned to play in. We think it’s a good thing that Cooke has brought theses in to offer their traditional Panchro-style look in an enticingly small package perfect for next generation filmmaking and content-creation environments.
Key features
Dulens APO Mini
Incredibly lightweight at around 1lb per lens, the Dulens APO Mini primes bring vintage-style characteristics to your projects. The image from these primes tends to lean towards the warmer side, although saturation overall is more muted. Flaring is pronounced with heavy rainbow flares. They don’t completely wash out the image, but some users might want to take similar care to block direct hard light as they do other vintage lenses unless that specific look is desired. Overall, they are unique in their look and fit nicely in compact camera packages.
However, the added character also leads to the slower T/2.4 apertures similar to the SP3 primes, BUT for a quarter of the price. As opposed to a few others on this list, the Mini primes do not come with mirrorless mount options. However they do incorporate interchangeable PL/EF mounts which is still warmly welcomed. Additionally, they cover FF/VV sensors with a 46mm image circle which makes them versatile in the ever-evolving camera landscape.
The APO primes also come in multiple colorways including the white paint you see above. While that might not make a difference in how you shoot, it’s still nice to have the options available. The ability to choose how your set up looks might be appealing to some users. How does the saying go? If you look good, you shoot good? Yeah that’s it.
Key features
- Focal lengths: 21mm, 31mm, 43mm, 58mm, 85mm
- Mount(s): Interchangeable PL/EF
- Aperture range: T2.4-T22
- Price: Starting $999
DZOFilm Vespid
The DZO Vespid Prime lenses represent a significant change in the perception of quality in affordable cinema lenses from a Chinese brand. Launched in 2020, these lenses were designed to meet the growing demands of high-resolution filmmaking while providing exceptional image quality and versatility at a low price point. Drawing on their experience, DZOFilm engineers developed the Vespid Primes with a focus on superior optical performance, incorporating advanced glass elements and coatings to reduce distortion and enhance sharpness.
These lenses offer a fast T2.1 (T2.8 for the 12/16mm primes) aperture, enabling impressive low-light capabilities and a strikingly smooth bokeh. Adoption and integration into the industry came along swiftly due to things like optical quality and price point. Interchangeable PL/EF mounts were also welcome as they provided security in investment from up-and-coming cinematographers. They also became a staple in rental houses that catered to students and low-budget productions.
Overall, the Vespid primes continue to ride the wave of popularity across the filmmaking landscape including in content-creation, music video, and commercial settings. With 11 lenses in the series, there is something to fit every need in your production.
Key features
Meike Cine Primes
More of an out of left-field option, the Meike FF Cine Primes are well engineered ff primes These lenses are designed with a generous 45mm image circle to ensure full-frame sensor coverage, providing sharp and detailed imagery across the frame. They come in between the DZO Vespids and Nisi Athenas with regard to pricing. The main difference that might persuade you into choosing between all three is variety in focal lengths and low-light capability. The Meike have less variety than the other two, but sit in the middle with T2.1 and T2.5 max apertures compared to the Vespid’s T2.1 and T2.8
In terms of usability, the Meike FF Cine Primes are very well thoughtout with practical features tailored for professional filmmaking. They come equipped with standard 0.8 MOD focus and iris gears, facilitating easy integration with follow-focus systems and other cinema accessories. The lens includes dual-scale markings in feet and meters, an 82mm filter thread, and a focus rotation of 330°, ensuring precise manual focus adjustments.
Key features
- Focal lengths: 16mm, 24mm, 35mm, 50mm, 85mm, 105mm, 135mm
- Mount(s): Interchangeable PL/EF
- Aperture range: T2.1-T22
- Price: Starting $998
Nisi Athena
Appearing at NAB 2023 the Nisi Athena primes made a crater sized impact on the industry. You couldn’t go anywhere without hearing them mentioned. Rental houses, dealers, social media. Praised for their superb optical performance, fast T1.9 apertures, and cost made them an instant hit. They also came at a difficult time in the industry when budgets were tight. For a fraction of the cost anyone could purchase these and produce wonderful images.
Speaking of imagery. They offer a neutral rendering and are very well corrected to prevent distracting aberrations. However, select mirrorless mounts offer built-in filter trays and PL mount versions include the ability to place filters on the rear assembly. They are also the only ones in this category that offer PL and mirrorless compatibility.
Overall, they are the standout kids with regard to sub $2000 spherical cine primes released in the past two years. Now with the released 18mm, 40mm, 135mm, the Athenas have 8 lenses which provide plenty of coverage options for any production.
Key features
- Focal lengths: 14mm, 18mm, 25mm, 35mm, 40mm, 50mm, 85mm, 135mm
- Mount(s): PL, E, RF, L, Fuji G (no filter), E (no filter)
- Aperture range: T1.9-T22
- Price: Starting $1198.00
Zeiss Nano Primes
The Zeiss Nano Primes were an exciting announcement to kick off 2024. They join other legacy brands that have developed mirrorless specific lenses. Priced competitively against others, they provide standardized size front diameters, gear position, and interchangeable mounts. A key point to bring up is that Zeiss incorporates electronic lens contacts across the various interchangeable mounts while others such as the SP3s do not. However, at the time of writing this, Zeiss only offers the Nano Primes in E-mount. They are also the only lenses in this category that offer fast T1.5 apertures.
Zeiss claims that they aimed to create a look complementary to their top-tier Supreme Primes. Sharp, natural falloff and color reproduction. T* coatings also work to prevent chromatic aberrations in high contrast areas.
As Zeiss’ first commitment to mirrorless cine primes, they must do well in order to break ground and cement their place in the developing world of cinematography. Can they become as legendary as the Super Speeds. Time will tell.
Key features
Conclusion
Choosing the right compact full frame cinema lenses involves balancing factors such as optical quality, price, size, and versatility. We are living through a time where revolutions in cinema lens technology and accessibility is developing faster than it has in the past 50 years. With that we are going to continue to see exciting new options being released. I know, as if the options we talked about above weren’t great enough right? The future is the future, but your productions are happening today and we hope this lens guide to some of the most compact cine options on the market helps in choosing the tools you need to get to work.
And as your one stop shop for all things optics we offer sales and service on all the lenses above. Just saying.