I’m not sure how many of you have been to Yokohama, but if you haven’t, do yourself a favor and add it to your list. The town – especially the area around the Pacifico convention center – is always a pleasure to stroll through. And if you’re one of those crazy people who actually like to jog, you’re in luck – the whole place has a great sporty atmosphere and scenic surroundings.

CP+ highlights – the cameras

But let’s focus on the mission of highlighting some of the products we saw there. As expected, all the major Japanese camera companies were present at the show with impressive, well-designed booths. While OM is extremely popular in Japan (their booth is always packed) and Panasonic was proud to show their newly announced S1R II, Sony was busy letting people get hands-on with their new 16mm and 400-800mm G lenses. Nikon was showcasing the latest RED camera edition with Z-mount next to the newly announced Nikon 28-135mm f/4 PZ. (This lens looks cool on the Nikon Z 9…). I’m simplifying here as all companies had much more to present.

OK, so what caught our attention?

FUJIFILM: We’ve already widely discussed the development status of the upcoming GFX ETERNA. For those who missed reading the article or watching the interview, here is a short recap. FUJIFILM is on track to present the final product this year. Currently, the company has revealed that it will offer a 4K open gate recording mode next to dual ISO sensitivity (800/3200). The camera package will include a 5-inch touch monitor.

Canon: Somewhat quietly and under the radar, Canon announced and showcased the new PowerShot V1. According to the company, the target group for this 4K camera is clearly content creators. Personally, I think it was built to satisfy a wider range of users if you look at what it has to offer. Equipped with a 22MP 1.4″ image sensor, built-in ND, 10-bit 4:2:2 recording, Canon Log3, cooling fan (for extended recording time), front tally, zebra, 16-50mm equivalent f/2.8-4.5 lens, vari-angle LCD screen, and more (note that 4K/60p recording will suffer from a 1.4x crop). This easy-to-use, ergonomically designed camera might appeal to many. But before you rush out to get one, keep in mind that it’s currently available only in Japan, with a worldwide release planned later this year. In Japan, the camera costs 148,00 Yen, which is roughly less than $1,000.

SIGMA: It seemed as if SIGMA was the one to steal much of the attention. According to SIGMA themselves, they did not anticipate the hype surrounding the new BF camera and new lenses and were pleasantly surprised to see the level of interest shown by visitors. Although this camera is not breaking any world record in specifications, nor is it comfortable to hold, it is the look that attracted people. Made from a single solid aluminum block, it instantly became a fashion statement. Between the black or silver colors I find the latter to be nicer, but at the end of the day, it is really a matter of personal taste.

Speaking of which, I’m sure many of you have noticed the new SIGMA logo next to the different font the company has started using. How do you like it? Please share your thoughts in the comment section below.

Lenses

Sony, Laowa, Viltrox, ZEISS, 7Artisans and others showed their latest offering at the show. While some of these new products might be great, the two lenses that captured our attention were from LK Samyang x Schnider Kreuznach and SIRUI.

LK Samyang x Schnider Kreuznach: If you are sharp-eyed, you noticed that Samyang went through a rebranding phase and next to their new logo, the company’s name has changed to “LK Samyang”. As end-users we might not feel the difference, but I’m curious to learn more about why this happened. Currently, there are not too many details about this new E-mount lens, but it did get a lot of attention!

SIRUI: The company showed their upcoming 20mm 1.33x, S35 autofocus anamorphic lens, promising to improve the AF functionality after hearing concerns from users who purchased the 40mm AF anamorphic. All in all, with SO MANY photo/video/cine spherical lenses currently being brought to the market, I was happy to see something a bit different. When it comes to autofocus anamorphic lenses, I still think that BLAZAR with their two Apex 1.33x lenses are more suitable for filming, but for the occasional photo/video user the SIRUI might be the easier choice.

So that’s it! With another show wrapped up, we at CineD are now shifting our focus to preparing for NAB… :)

Did you follow CP+? If yes, what product was your personal highlight? Please share your thoughts with us in the comment section below.

Back in 2019, Sony released the Sony FE 200-600mm f/5.6-6.3 G OSS and the massive FE 600mm f/4 GM OSS telephoto prime lens. While the super-telephoto zoom lens market can seem relatively “niche,” Sony continues to expand their Sony E-Mount lineup, which will now cover all focal lengths from 12mm up to 800mm with this new FE 400-800mm F/6.3-8 G OSS.

Sony FE 400-800mm F/6.3-8 G OSS – features

The Sony FE 400-800mm F/6.3-8 G OSS is a massive lens with an outside diameter of 11.9cm/4.68in, a length of 34.6cm/13.6in, and a weight of 2.47kg/5.22lbs with the tripod collar. As you can tell, this is the kind of lens you bring on purpose, as it takes a lot of room in a backpack/case.

This super-telephoto zoom lens covers full-frame image sensors. With a wide zoom range that goes from 400mm with a maximum aperture of F/6.3 to 800mm at F/8, it has the most extended focal length of the Sony E-Mount lens lineup. Furthermore, if you use it with the optional 1.4x teleconverter, you can reach 1120mm at F/11 and even 1600mm at F/16 with the 2.0x teleconverter.

On the lens body, you’ll find two large rings, one for the zoom and one for the focus. When you zoom in/out, the lens doesn’t extend or retract; it has an internal zooming design, which almost doesn’t change the center of gravity of your setup when zooming.

There is also a plethora of buttons and switches, including:

• Three focus hold buttons.
• One AF/MF focus mode switch.
• A full-time direct manual focus (DMF) switch. You can directly set full-time DMF On/Off with this switch without needing to access it in the camera’s menu.
• Since this is an OSS lens, it features Optical SteadyShot image stabilization. You’ll find one OSS On/Off switch and one OSS mode switch to select from three stabilization modes.
• A focus range limiter with three settings: full, 10m – near, and 8m to infinity.

At the bottom of the Sony FE 400-800mm F/6.3-8 G OSS, you’ll find a tripod mount with one 1/4″-20 and one 3/8″-16 mounting point. The lens comes with a lens hood that has a filter window.

Primarily designed to shoot outdoors, this super-telephoto zoom lens is dust- and moisture-resistant. All seams are sealed, buttons and switches have silicone rubber gaskets, and a rubber ring seals the lens mount.

In terms of performance, the autofocus system features two linear motors, which should provide fast, precise, and quiet AF performances. If you switch to manual focus, the focus ring has a linear response for precise adjustments.

Last but not least, Sony claims that the FE 400-800mm F/6.3-8 G OSS has nearly zero focus breathing, and it supports breathing compensation with compatible cameras.

Lens design

The lens design of the Sony FE 400-800mm F/6.3-8 G OSS consists of a whopping 27 elements in 19 groups, including six ED glass elements to compensate for chromatic aberration.

The front element has a Fluorine coating that repels water/oil and helps with cleaning while adding an extra protection layer.

The aperture diaphragm features eleven rounded blades for smooth and rounded bokeh. The minimum focusing distance is 1.7m/66in at 400mm and 3.5m/137in at 800mm. Lastly, the front filter diameter is massive at 105mm.

Price and availability

The Sony FE 400-800mm F/6.3-8 G OSS will be available in March for €3,000.
For more information, please visit Sony’s website here.

What do you think about this super-telephoto zoom lens? Do you often shoot with telephoto zoom lenses? Could it be a valuable addition to your kit or a lens you would rent for specific projects? Don’t hesitate to let us know in the comments below!

After the FE 20mm F/1.8 G released in February 2020 and the FE 14mm F/1.8 GM released in April 2021, Sony is back with another fast F/1.8 ultra-wide angle prime lens: the FE 16mm F/1.8 G. Indeed, even if the company launched a smaller and lighter FE 16-35mm F2.8 GM II zoom lens last year, there are situations where having one full extra stop of light hitting your image sensor are not negligible.

Sony FE 16mm F/1.8 G – features

The Sony FE 16mm F/1.8 G is a compact and lightweight lens that is only 75mm/2.95in long for a diameter of 73.8mm/2.90in, and it ticks the scale at only 304g/0.67 lbs. This makes it lighter and more compact than the FE 20mm F/1.8 G and FE 14mm F/1.8 GM.

The 16mm F/1.8 G covers full-frame image sensors. On the lens, you’ll find a focus ring and aperture ring with an aperture lock and aperture click switches, which is very handy for filmmakers. Also, there is an AF/manual focus switch, and the focus ring has a linear response manual focus.
Furthermore, all buttons and switches on the lens feature silicone rubber gaskets, and a rubber ring seals the lens mount, making the lens dust and moisture-resistant.

In terms of autofocus performances, the lens features two XD linear motors, which should provide fast and accurate AF performances. Also, there is a Focus Hold button on the lens. According to Sony, the optical design “greatly minimizes focus breathing.” Lastly, the lens supports in-body breathing compensation, and thanks to the internal focusing design, the front of the lens doesn’t move when you focus.

Lens design

The lens design of the Sony FE 16mm F/1.8 G consists of 15 elements in 12 groups, including three aspherical elements, two AA, three ED, and one Super ED glass element to reduce unwanted lens flares and correct chromatic aberrations. The front element features a Fluorine coating that repels water, oil, and fingerprints, making cleaning easier.

The aperture diaphragm features eleven rounded blades. The minimum focusing distance is 13cm/5.11in (15cm/5.90in in AF mode), and the front filter diameter is 67mm.

Pricing and availability

The Sony FE 16mm F/1.8 G will be available in April for €1,000.
For more information, please visit Sony’s website here.

What do you think about this new ultra-wide-angle prime lens? Would it be a helpful addition to your kit? Don’t hesitate to let us know in the comments below!

Super-zoom lenses are often disregarded as optically inferior to more modest zoom lenses or primes. I myself have become quite a prime snob over the years, but I do remember the sense of total compositional freedom granted by my first 18-200mm almost 20 years ago. A five-month backpacking trip across South America may also have had a slight effect on this sense of freedom, but it’s not a travel blog here!

Technical specifications

Following SIGMA’s know-how, honed by decades of lens-making, this recent iteration of the classic travel super zoom consists of a rather complex optical formula. The lens is composed of 20 elements in 14 groups. These include one FLD, four SLD, and four aspherical elements to minimize aberrations, ghosting, and flares. The lens will also provide very respectable macro performance. A 1:2 magnification ratio can be achieved at the 70mm setting, with an impressive close focus at other focal lengths. With an f/3.5-6.7 aperture, the SIGMA 16-300mm is not a speed demon, but it does boast a 9-bladed aperture for pleasant bokeh on the narrower settings.

Mechanical features

Unlike the awe-inspiring SIGMA BF, the SIGMA 16-300mm f/3.5-6.7 DC OS design is probably best described as “unassuming”. Behind a black plastic hood and a 67mm front element lies a longish black lens.

The interesting part is inside the barrel. An optical image stabilizer (OS) will provide up to six stops of stabilization at the wide end and up to 4.5 stops at the tele end. A High-response Linear Actuator (HLA) will drive the autofocus with speed and silence. The weather resistance is nice, though bear in mind that such a protruding design will have a hard time keeping every spec of dust or moisture out.

Who is it for?

The SIGMA 16-300mm f/3.5-6.7 DC OS Contemporary lens is all about focal versatility. The lens will cater to the needs of anyone looking for wide coverage with compact, affordable glass. Travel vloggers, weekend warriors, and newcomers who haven’t yet decided on their favorite angle of view – this lens welcomes them all.

Price and availability

The SIGMA 16-300mm f/3.5-6.7 DC OS Contemporary is available for preorder at $699 / €601.25 for RF, X, E-Mount, and L-Mount APS-C cameras. Shipping is due at the end of April 2025.

Will you go for such a versatile glass, or will you opt for more dedicated optics? Let us know in the comments.

With this release, ZEISS finally gives photographers and filmmakers a native Otus experience for mirrorless cameras. The Otus ML lenses follow the same principles as their DSLR predecessors. ZEISS claims they offer exceptional optical performance, premium build quality, and precise manual focus. These lenses are not for everyone. The manual focus design and high-end pricing put them squarely in the hands of professionals who demand the best optics available.

A brief history of ZEISS Otus

When ZEISS introduced the first Otus lens in 2013, it set a new benchmark for image quality. CineD covered the debut of the Otus 55mm f/1.4 in this article. The original Otus lenses became known for their unmatched sharpness, near-zero distortion, and beautiful color reproduction.

Over the years, ZEISS expanded the lineup to include 85mm, 100mm, and 28mm lenses. These were built for Canon EF and Nikon F mounts, which meant mirrorless users had to rely on adapters. ZEISS’s long silence in the stills lens market led to speculation about whether it would continue developing high-end photography lenses. This new release puts those doubts to rest.

Otus ML: built for mirrorless cameras

ZEISS has now introduced the Otus ML 50mm f/1.4 and Otus ML 85mm f/1.4, both designed for Sony E, Canon RF, and Nikon Z mounts. These lenses are built specifically for mirrorless cameras, eliminating the need for adapters.

At 50mm and 85mm, they are made for portrait and cinematic work. The f/1.4 aperture should allow for excellent performance in low-light conditions while offering precise depth-of-field control. ZEISS designed these lenses to work seamlessly with modern mirrorless cameras, giving users the best possible performance without any compromises.

What’s new in Otus ML?

The Otus ML lenses continue ZEISS’s tradition of high-quality, albeit pricey, optics. However, they also introduce key improvements for mirrorless shooters. ZEISS claims these lenses provide exceptional edge-to-edge sharpness, reducing chromatic aberration even at wide apertures.

According to ZEISS, the shorter flange distance of mirrorless systems allows for better optical performance, lighter weight, and a more compact size compared to older DSLR-based Otus lenses. The apochromatic optical design significantly reduces chromatic aberrations, ensuring crystal-clear images with accurate colors. The ZEISS T anti-reflective coating minimizes flare and ghosting, improving contrast even in high-contrast lighting.

ZEISS has also prioritized manual focus precision. The helicoid-driven focus system provides a smooth, accurate focusing experience, giving photographers complete control. Videographers will appreciate the manual aperture ring with a de-click function, allowing for seamless aperture changes during filming.

Durability is another major factor. The all-metal construction ensures reliability, even in demanding conditions. The weather and blue sealing ring at the camera lens interface protect against dust and moisture. ZEISS has also tested the lenses in extreme temperatures, ranging from -20°C to +55°C.

Technical specifications

Performance

• Focal length: 50mm / 85mm
• Aperture range: f/1.4 – f/16
• Camera Mount: Sony E-Mount | Canon RF-Mount | Nikon Z-Mount
• Format compatibility: Full Frame
• Focusing range: 0.5 meters (19.69″) – ∞ | 0.8m (31.49″) – ∞
• Image ratio at minimum object distance: 1:7.3 | 1:8.1
• Lens elements | groups: 15 | 11

Physical Features

• Filter thread: 77mm (50mm lens) | 86mm (85mm lens)
• Rotation angle of focusing ring: 244°
• Weight:
  • 50mm: 1.49 lbs (0.68kg)
  • 85mm: 2.29 lbs (1.04kg)
• Weather sealing: Yes

For a complete breakdown of specifications, visit the official ZEISS Otus ML product pages for the Otus ML 50mm f/1.4 and the Otus ML 85mm f/1.4.

Availability and pricing

ZEISS has confirmed that the Otus ML 50mm f/1.4 will be available in Spring 2025 at a price of $2,500. The Otus ML 85mm f/1.4 will follow later in 2025 for $2,999. ZEISS will officially present the lenses on YouTube on February 26, 2025, at 11 AM CET. See the embed below.

If you’d like to watch the live event, or catch up on it later, check out the link below.

The ZEISS Otus ML 50mm f/1.4 and 85mm f/1.4 lenses are also now available for pre-order at B&H Photo. Please check out the links in the article below.

Final thoughts

The Otus ML series brings ZEISS’s most respected lenses into the mirrorless world. These lenses stick to the Otus reputation for exceptional optics, all-metal construction, and precise manual focus. They are not designed for casual users. Instead, they are for photographers and filmmakers who demand top-tier image quality and don’t mind focusing manually.

Have you used ZEISS Otus lenses before? What do you think about the move to mirrorless? Let us know in the comments!

The world of professional tele lenses was never mainstream. Hefty in both physique and price, these lenses were mostly seen in the hands of hardcore professionals, mostly around high-profile sports events or in the wild, capturing elusive fauna. While the new SIGMA 300-600mm f/4 will probably be seen in the same arenas, it is one of several new mirrorless tele lenses that blur this line with smaller, lighter, and more affordable options. Some manage to pull that off by compromising the max aperture. This was made possible thanks to modern mirrorless cameras’ auto-focus systems that can operate under such conditions, unlike most DSLR cameras. SIGMA, however, didn’t take that road with their current pro super tele-zoom.

What’s inside the SIGMA 300-600mm f/4

Under the thermal insulation paint-clad magnesium alloy shell, SIGMA has managed to cram quite a lot. The optical formula comprises 28 elements in 21 groups, including six FLD elements and one SLD element. These should combat every stray beam of light for uncompromised technical performance. 13 aperture blades will ensure round bokeh at all settings. The lens also includes an optical image stabilizer capable of reducing vibration equivalent to 5.5 stops. This should enable occasional hand-held capabilities, but with a total weight of almost 4 kilograms, I’ll hardly recommend such a practice. As with most of its brethren, the lens is robust and weather-sealed.

Ample control points

With few surface limitations, the super tele lens boasts numerous control points. The new SIGMA 300-600mm f/4 happily follows and adds some new features. A rear drop-in filter slot will accommodate a compact circular polarizer (CPL) and neutral density (ND). Various switches will limit the auto-focus range, choose stabilization modes, and more. Four AF-L buttons spread around the barrel, and a new custom control collar is a welcome addition. There’s even a click-declick switch on the tripod leg if you would like to set your Dutch angle shot with or without clicks…

A 600mm with benefits

It seems as if SIGMA was opting for a new 600mm f/4 lens and, in a very “SIGMA fashion,” added some influential bonuses to it, mostly the incredibly useful zoom. Even without the wider 300mm angle, the lens poses a major challenge to other manufacturers’ 600mm f/4 alternatives. Most of those cost twice as much as the SIGMA, and they have a hard time offering much more. And that’s before we even realized that the SIGMA 300-600mm f/4 DG OS Sports boasts a 2x zoom range. While we will have to wait for actual testing, it seems that SIGMA managed to restructure the segment around its innovative design. It’s far from the first time.

Price and availability

The SIGMA 300-600mm f/4 DG OS Sports is available for preorder for $5,999 / €5,930.12 with either a Sony e-Mount or SIGMA / Panasonic / Leica L-Mount. No shipping time frame has yet to be disclosed.

Will this lens make you consider getting a professional super-telephoto lens for the first time? Is 6K still too much for the use case the lens may cover? Let us know in the comments.

Tokina has come a long way since releasing their first zoom lens, the 90-230mm f/4.5, back in 1967. After recently introducing the Tokina Cinema Vista-C series and expanding their Cinema Vista-P Prime lineup, the company is now adding the atx-m 11-18mm lens, an ultra-wide zoom for FUJIFILM X-mount cameras to its roster.

Compact wide-angle option for mirrorless

Weighing 320g/11.2oz and measuring 82.7mm/3.2in, the Tokina 11-18mm f/2.8 is 40% lighter than its DSLR counterpart, the atx-i 11-16mm f/2.8 CF. Its lightweight build should make it well-suited for gimbal work, travel, and handheld video setups. Despite its compact size, the lens maintains a wide f/2.8 aperture throughout the zoom range, providing better low-light performance and exposure consistency compared to many f/4 alternatives.

Close focusing and filter compatibility

With a minimum focusing distance of 19cm/7.4in at 11mm and 30cm/11.8in at 18mm, this lens enables close-up compositions with an exaggerated wide-angle perspective. It also features a 67mm front filter thread, making it compatible with standard filters – a useful addition for landscape and video shooters. In addition, Tokina states that the lens operates nearly silently, minimizing the risk of lens noise being picked up by the camera’s internal microphones during recording.

Optical design and autofocus

The optical construction includes two aspherical elements and two super low-dispersion (SD) elements to help control chromatic aberrations and coma. With a nine-blade aperture, the bokeh should appear soft and smooth, particularly when taking advantage of the lens’s close-focus capabilities.

For autofocus, Tokina has used an ST-M stepping motor designed for quiet operation and works with FUJIFILM’s Eye AF, MF Assist Mode, Direct Manual Focus, and in-camera Optical Correction technology.

Tokina atx-m specifications

• Sensor type: APS-C
• Focal length: 11-18mm (17-27mm equivalent on full-frame)
• Maximum aperture: f/2.8
• Minimum aperture: f/22
• Angle of View: 104.3° – 76.7°
• Optical construction: 13 elements in 11 groups
• Aperture blades: 9 rounded
• Minimum focusing distance: 19cm (7.4 in) @ 11mm / 30cm (11.8 in) @ 18mm
• Magnification: 1:9.2 (@ 11mm) / 1:12.4 (@ 18mm)
• Filter size: 67mm
• Dimensions: 74.4mm × 82.7mm
• Weight: 320g/11.2 oz
  

Price and availability

The Tokina atx-m 11-18mm f/2.8 lens is available for preorder and is priced at $599/€688.93. For more details, visit the Tokina website.

Do you see the Tokina 11-18mm f/2.8 as a useful addition to your FUJIFILM kit, or do you prefer other ultra-wide options? What features matter most to you in an ultra-wide zoom—aperture, size, autofocus performance, or something else? Let us know in the comments!

Nikon has now formally introduced their first power zoom lens for the Z-mount system, marking the company’s serious entry into the professional video market. The NIKKOR Z 28-135mm f/4 PZ combines a versatile focal range with features specifically designed for professional video production. It was initially teased in October 2024 as “in development” and should now start shipping soon.

Nikon 28-135mm f/4 PZ – curiously similar to Sony 28-135 f/4 G OSS

The new Nikon lens is curiously similar to a Sony lens with the exact same focal range, f-stop, and even Power Zoom. We reviewed this lens (almost to the day!!) 10 years ago.

The lens represents a significant departure from Nikon’s previous Z-mount offerings, incorporating cinema-focused features like a dedicated zoom rocker with 11 programmable speed settings. This functionality allows video shooters to execute both subtle zooms for dramatic effect and rapid transitions when following action.

Professional cinema features of the Nikon 28-135mm f/4 PZ

A key design consideration appears to be gimbal compatibility, with the lens utilizing an internal zoom mechanism to maintain a constant center of gravity throughout the zoom range. This addresses a common frustration with traditional still photography zooms when used for video work.

Key professional features include:

• Customizable zoom ring rotation angle and direction
• Internal zoom mechanism for stable center of gravity
• Dual L-Fn buttons positioned for both horizontal and vertical operation
• Rectangular lens hood with filter adjustment window
• Industry-standard front diameter for matte box compatibility

Optical design and performance

The optical design includes Nikon’s Meso Amorphous Coating for flare suppression, and the company claims the lens has been optimized to minimize focus breathing. The constant f/4 aperture is maintained throughout the zoom range, while a stepping motor handles autofocus duties. For manual focus pulls, the lens offers a linear response system typical of professional cine lenses.

Extended capabilities with Z 9

When paired with the Nikon Z 9, the lens supports Hi-Res Zoom functionality, effectively extending the reach to a 270mm equivalent focal length in 4K recording mode. This feature can be synchronized with the optical zoom for smooth transitions between standard and digital zoom ranges.

Remote operation and professional integration

Remote operation capabilities have been implemented through Nikon’s software ecosystem, including NX Tether for studio control, SnapBridge for mobile device operation, and NX Field for multi-camera setups. The lens supports standard follow-focus systems and professional matte boxes while offering weather-sealed construction with noted limitations.

Market position and future implications

This release signals Nikon’s ambition to compete in the professional video market for PTZ lenses, traditionally dominated by some Sony and Canon lenses. If the advanced video features of their own Nikon-branded cameras or their RED acquisition announcement a year ago wasn’t enough indication, this lens includes features that suggest Nikon is serious about addressing the needs of professional video producers also in the lens market, from the internal zoom mechanism to the dual-position function buttons.

Plus, don’t forget their announcement to ship RED cameras with Z-mount now, too, which, of course, can mean we’ll see this Nikon 28-135 PZ lens on lots of RED cameras in the near future.

How will it perform?

Critical aspects requiring real-world verification in case we get our hands on this lens:

• Assuming manual focusing will be fly-by-wire, it’ll be interesting to see how well it works. It’s a bit tricky with the Sony counterpart of this lens (from my own experience)
• T-stop measurement vs. the stated f/4 aperture
• Focus breathing performance across the zoom range
• Electronic zoom smoothness at various speeds
• Weight and balance characteristics for gimbal use

This lens is positioned in the mid-range professional cinema zoom market, costing around $2,600. It’s available for pre-order from B&H and CVP through our buy links below.

What do you think about this new power zoom lens from Nikon? Something you want to invest in if you are a Nikon user? Let us know in the comments below.

The Chinese camera accessories manufacturer SIRUI entered the world of lens manufacturing relatively recently, about six years ago, starting with the affordable 50mm f/1.8 APS-C anamorphic lens, but has since managed to build quite a wide portfolio.

To demonstrate the level of innovation at SIRUI last year, the company announced a 40mm 1.33x anamorphic lens with autofocus. Make sure to check Johnnie’s review in case you missed it. In fact, SIRUI announced the lens shortly after the world’s first anamorphic AF lens from BLAZAR was introduced at the IBC show.

Today, we get teased with yet another new lens series from SIRUI. This time, we are talking fast full-frame spherical cinema primes. Let’s take a short look at the upcoming SIRUI VP-1 lineup.

SIRUI VP-1 cine prime set

According to SIRUI, the VP in the name stands for “Vision Prime.” The whole set features a similar size and weight (roughly 500-600g/ 17.6-21.1 oz), a 67mm front filter thread, and the same ring placement.

The click-less iris and focus rings feature standard gears for any motorized lens control system. The focus ring of the VP-1 lenses has a 270° rotation angle. The 12-bladed aperture (18-bladed for the 50mm lens) is available between T1.4 and T16.

Today, the company announces three focal lengths:

• 24mm T1.4 (close focus 0.26m / 0.85ft)
• 35mm T1.4 (close focus 0.30m / 1.00ft)
• 50mm T1.4 (close focus 0.43m / 1.50ft)

In the near future (second half of 2025), two more focal lengths are expected – 15mm and 75mm.

Flexibility of multiple lens mounts

Apart from the fast maximum aperture of T1.4, SIRUI’s VP-1 series has one very interesting trick up its sleeve – a user-interchangeable lens mount. This is a very practical feature to have, in my opinion.

Personally, when considering getting a cinema prime lens set in the last few years, I was never tempted to go for any of the mirrorless mounts (although I switched to mirrorless cameras almost 12 years ago). The reason for this is the limited compatibility.

With cinema prime lenses, there is often no lens-camera communication necessary (except high-end cine lenses for metadata transfer), so it made sense for me to opt for one of the SLR mounts (Canon EF or ARRI PL, for instance), which then can be easily mounted on any mirrorless system via a simple lens adapter. If I were to buy a mirrorless mount cine lens set and switch to a different ecosystem, I would have to sell the lenses.

Therefore, it is nice that SIRUI designed the new VP-1 cine primes with a user-interchangeable system. This makes the lenses compact and lightweight (thanks to a mirrorless design) but still flexible in terms of camera choice. By default, the lenses come with a Sony E-mount pre-installed but include Canon RF, Nikon Z, and Leica L mounts to be switched by the user whenever needed.

Optical design, lens body

Optically, SIRUI VP-1 comprises ED lenses and high-refractive index (HRI) as well as three aspherical elements. This results in a smaller overall lens size, according to the company. SIRUI claims the lenses show minimal focus breathing and distortions.

SIRUI provided a few sample frames so you can be the judge when it comes to the look of the lenses.

The lens barrel is made out of aluminum alloy and has two colors to choose from – black or metal gray.

Price and availability

SIRUI VP-1 Vision Prime lenses will be available via SIRUI’s Kickstarter campaign from February 20th, 2025. The price during the campaign will be $549 per lens, while the full retail price is planned to be $649 per lens. For the three-lens set, SIRUI will charge you $1,599 (the full retail price will be $1,899). Every lens comes with a set of user-interchangeable mounts (E/RF/Z/L). We will add the link to the Kickstarter campaign as soon as we get it.

What do you think about the new SIRUI VP-1 cine prime lens series? Are you in the market for an affordable full-frame cine prime right now? Let us know your thoughts in the comments section underneath the article.

Tokina introduced the Cinema Vista 100mm T2.9 lens last fall and expanded the Cinema Vista-P series last month by adding the 21mm and 29mm T1.5 lenses. Now, they are offering the Vista-C series, lenses designed for filmmakers looking for a vintage look with distinctive optical characteristics, many of which you can see in their video below.

Red and blue flares

The Vista-C lenses create red and blue flares instead of the green ones common in modern cinema lenses. The optical design includes slight field distortion and softened edges. Despite these characteristics, the lenses maintain a fast T1.5 aperture, high resolution, and a sturdy build for digital cinema cameras. There is virtually no focus breathing, according to Tokina.

Optical design and performance

Tokina says their design goal for the Vista-C was to blend characteristics of classic lenses like the Cooke Speed Panchro and Canon K35 while eliminating focus breathing and ensuring large format coverage. While the outer design is similar to previous Vista and Vista-P lenses, the Vista-C lenses have been completely rebooted and modified, with all-new coatings specifically developed for this lens to create a unique image with controlled distortion, smooth bokeh, and natural fall-off. Tokina stresses that the results are considerably different from those of the other Vista lenses and other popular cinema lenses on the market. Plus, unlike third-party modifications that alter existing lenses, the Vista-C series is purpose-built to deliver these features.

Coverage and technical specs

An important feature of the Tokina Vista-C lenses is their coverage of Large Format sensors, such as the ALEXA 265. With an image circle exceeding 46.7mm, these lenses comfortably cover Full Frame formats. Focal lengths from 35mm and up can be used on even larger formats, such as the ALEXA 65 in Open Gate, while the 18mm and 25mm lenses do not provide full coverage for these larger formats. These lenses also cover 65mm digital large format for cameras like the Blackmagic URSA Cine 17K, which should make them well-suited for artistic applications where a super-clean image isn’t the goal.

Vista-C compared with Vista and Vista-P lenses

• Flare and Color Changes: Vista-C lenses significantly reduce the green flares found in Vista and Vista-P lenses, instead producing red and blue flares.
• Optical Design: The lenses are built with entirely new optical elements. This should produce “an image with less uniformity and lowered contrast while maintaining the fast aperture and resolution that have made the Vista series popular.”
• Spherical Aberration: Unlike the Vista-P lenses, which add spherical aberration by adjusting element spacing, the Vista-C lenses take a different approach to achieve a “classic” image.

Build and mount options for the Tokina Vista-C

The Vista-C lenses keep the same 114mm front diameter and nine-blade iris as the Vista series. They are available in PL, with adapters for Sony E, Canon EF, and MFT mounts. The series launches with nine lenses: 18mm, 25mm, 35mm, 40mm, 50mm, 65mm, 85mm, 105mm, and 135mm – all featuring a T1.5 aperture.

Price and availability

Tokina Vista-C lenses are priced from $10,499 to $12,499, and delivery will start in March 2025. You can take a closer look at these lenses at the BSC Expo in London from February 13-15, 2025. For more information, please visit the Tokina website.

Which classic cinema lenses do you think have the most distinctive look, and how do you see the Vista-C series comparing to them? How important is lens character—such as flares, contrast, and edge fall-off—in your filmmaking style, and would you choose a lens like this for your next project? Share your thoughts in the comments below!