Old Fast Glass is a Los Angeles rental house specializing in high-end digital cinema cameras, film cameras, cinema lenses, and camera accessories. During NAB 2024, we met Mark from OFG to discuss their custom cinema camera based on the FUJIFILM GFX100 II image sensor.

Recently, Old Fast Glass collaborated with Ancient Optics, another LA-based company specializing in rehousing old, high-quality lenses. From this collaboration, they introduced the STATERA Full-Frame+ Anamorphic Primes, a set of lenses that balances a classic look with modern performance. 

STATERA: balance between old and modern

The name STATERA comes from the Latin word meaning “balance,” so the philosophy behind this set is straightforward. Inspired by iconic anamorphic lenses from the 1970s and 80s (Todd-AO, Cineovison, Technovision, and Nippon Scope), the set consists of a 35mm, 40mm, 50mm, 75mm, and 100mm lens sharing a T2.1 maximum aperture and a 135mm T2.9 lens available in PL mount for FF+ format.

The STATERA lenses pleasantly render faces thanks to their focus system that minimizes distortion. According to their creators, the lenses don’t suffer from extreme field curvature, which is helpful for framing people in different parts of the image, from center to edges.

Bokeh has a “cat eye” shape that resolves organically and starts to swirl towards the edges, producing a controlled amount of Petzval effect. The lenses feature classic single-layer coatings for an organic flare with controlled saturation. All lenses feature a 15-blade circular iris and match in focus and iris gear position, with a focus rotation of 300°. 

Price and availability 

Ancient Optics is now selling 20 STATERA lens sets. The list price is $165,000 for the set of 6 focal lengths: 35mm, 40mm, 50mm, 75mm, 100mm, 135mm.

For more information, you’ll have to write to Ancient Optics directly, but expect a delivery time of 6-9 months. The 50mm, 75mm, and 100mm are available to test and/or rent only at Old Fast Glass. Old Fast Glass offers all customers C2C access to the lens test footage shot at its headquarters, allowing customers to share the footage with their team in real-time with the benefits of Frame.io. 

What do you think about the STATERA lens set by Old Fast Glass and Ancient Optics? Would you like to test them for future projects? Let us know your thoughts in the comments below!

Mitakon is a brand under the Chinese company ZhongYi, specializing in manual lenses at affordable prices. On this occasion, they introduce the Mitakon Speedmaster 80mm f/1.6, a versatile lens with a large aperture that allows capturing images in low-light situations and with a good amount of bokeh for those looking for blurry backgrounds. Its focal length (around 63mm full-frame equivalent) makes it a versatile option for everyday filming and photography situations. 

Lens Overview

The Speedmaster 80mm f/1.6 has a filter thread of 77mm and features an optics system with ten elements in 6 groups. The lens has 4pcs of HRI (High Refractive Index) and 1pcs of UD (Ultra-low dispersion) to minimize chromatic aberrations. Mitakon ensures it meets the demands of medium format sensors thanks to its clarity and accuracy in rendering details. The lens features a rounded nine-blade diaphragm that will give users a diffused out-of-focus rendering when shooting at wide apertures.

Finally, the lens is made of metal and weighs 850g (1.87 lbs) in the GFX version and 900g (1.98 lbs) in the XCD version. It also features a built-in retractable lens hood, which is convenient for those like me who always lose the hood in some bag. 

Mitakon Speedmaster 80mm f/1.6 specs

• Focal Length: 80mm
• Aperture: Maximum: f/1.6, Minimum: f/22
• Camera Mount Type: Fujifilm G, Hasselblad XCD
• Format Compatibility: Medium Format
• Angle of View: 38.5°
• Maximum Magnification: 0.26x
• Minimum Focus Distance: 50 cm (19.6in)
• Elements/Groups: 10 Elements in 6 Groups
• Diaphragm Blades: 9
• Filter Thread: 77 mm
• Dimensions (DxL): 83x 83.2mm (32.7in x 32.8in)
• Weight: GFX: 850g (1.87lbs)   XCD: 900g (1.98lbs)

Price and availability

The Mitakon Speedmaster 80mm f/1.6 is now available to order for $599 for the FUJIFILM GFX and Hasselblad XCD systems. 

What do you think of this new lens for the GFX and XCD mounts? Have you used Mitakon lenses previously? Let us know your thoughts in the comments below! 

Every now and then, a new kid shows up in our “filmmaking block.” This time it’s Krypton OR’s turn, a newborn company based in Alexandria, VA (USA) and Milano (Italy), and founded by director and cinematographer Franco Campos-Lopez Benyunes. His curiosity and enthusiasm for vintage lenses eventually led him to venture into this project with the technical support, precision, and expertise of a highly respected lens rehousing specialist, namely Whitepoint Optics, out of Finland.

Krypton OR lenses are built around donor optics dating back to the mid-70s to late-80s. However, Franco didn’t take an ordinary rehousing approach to prioritize consistency across the set. Instead, he has decided to focus on the unique qualities of the lenses he loves – particularly the most modern versions of Konica Hexanon AR and Pentax SMC lenses. He then mixed and matched these attributes across the lenses, changed their iris blades, improved their close focus, and ultimately created a one-of-a-kind set. So, let’s dive in!

Krypton OR Cinema Prime series – specifications

Initially, the Krypton OR cinema prime lens lineup will consist of 9 fast focal lengths with a generous image circle ranging from 42 up to 60mm, thus granting full-frame and, in some cases, even Vista Vision coverage. The list includes:

• 21mm T2.9
• 28mm T1.9
• 35mm T2
• 40mm T1.9
• 50mm T1.5
• 57mm T1.3
• 85mm T1.9
• 100mm T2.9
• 135mm T2.6

Moreover, 14mm T2.9, 24mm T2.9, and 200mm T2.6 will join at a later date. The 24mm is already in production, while the 14mm and 200mm are still undergoing the final prototyping stage.

The lenses will come standard with a PL mount, but LPL and EF mount options are also available for an extra fee. Their vintage glass is paired with modern mechanics, offering 0.8MOD focus and iris gears, plus a long focus throw of 290°.

All lenses have been modified to feature 16 aperture blades, except for the 21mm and 40mm – which have 14 blades. This choice was dictated by the desire to keep the size of these two focal lengths down to a minimum.

The length of the lenses varies between 65mm and 151mm, while the 110mm front diameter is unified across the set to facilitate the use of matte boxes. The lightest lens in the set is the 40mm – tipping the scale at a little over 1kg/2.2lbs. -, while the 135mm comes in at 2,38kg/5.25lbs.

Last but not least, the close-focus capability of all lenses has been significantly improved. The 21mm and 28mm can focus as close as 18cm/7in, but the minimum focus distance is equally excellent on the longer focal lengths (1.1m/3.6ft on the 135mm), including the forthcoming 200mm.

Price and availability

The official launch of Krypton OR lenses will take place in September 2024, but the company is starting to take applications of interest for their set, so make sure to keep an eye on their website here. However, please keep in mind that Krypton OR stated that they’re not interested in mass production. Instead, they will only shake hands with hand-picked DPs and rentals around the globe.

Currently, there’s no official information regarding pricing. However, this will fluctuate depending on whether you already own the donor lenses or not. Moreover, the company will allow some room for customization, which will also play a role in the final cost.

The good news is that the turnaround for Krypton OR lenses will be approximately 6 months from the moment you place your order. That’s pretty impressive, considering other rehousing projects can take over 1 year to be delivered. This is made possible by a dedicated production lane that Whitepoint Optics has reserved exclusively for Krypton OR.

For more information, please visit Krypton OR’s website and Instagram account.

What do you think of this new project by Krypton OR? Have you ever worked with the donor lenses of this set? What’s your take on the company’s rehousing approach? Let us know your thoughts in the comment section below!

In recent years, we have witnessed many lens manufacturers bringing out affordable anamorphic lens options. I would say that after a few waves of affordable spherical cinema lenses, we are seeing anamorphic lenses slowly becoming democratized as well. On the other hand, we still have traditional premium anamorphic lens companies releasing new products, too. One of those companies, HAWK, recently added two new focal lengths to their HAWK65 Vintage’74 series of 1.3x anamorphic lenses. Let’s take a look at the details.

HAWK65 35mm T2.6 and 65mm T2.9 Macro Vintage’74 1.3x anamorphic lenses

With these two new additions to the series, the HAWK65 Vintage’74 line features a total of 11 lenses:

• HAWK65’74 35mm T2.6 lens – close focus 0.8m (2’7″)
• HAWK65’74 40mm T2.6 lens – close focus 1.0m (3’3″)
• HAWK65’74 45mm T2.6 lens – close focus 1.0m (3’3″)
• HAWK65’74 50mm T2.6 lens – close focus 0.8m (2’7″)
• HAWK65’74 60mm T2.6 lens – close focus 1.0m (3’3″)
• HAWK65’74 65mm T2.9 Macro lens – close focus 0.55m (1’10”)
• HAWK65’74 70mm T2.6 lens – close focus 1.0m (3’3″)
• HAWK65’74 80mm T3.2 lens – close focus 0.8m (2’7″)
• HAWK65’74 95mm T3.2 lens – close focus 1.0m (3’3″)
• HAWK65’74 120mm T3.6 lens – close focus 1.0m (3’3″)
• HAWK65’74 150mm T3.6 lens – close focus 1.0m (3’3″)

The HAWK65 Vintage’74 series of lenses feature a subtle 1.3x anamorphic squeeze while retaining the same bokeh characteristics as the classic 2x anamorphic lenses, according to HAWK/Vantage. This is possible thanks to HAWK’s patented iris-shaping system.

HAWK praises the 1.3x squeeze ratio for its effectiveness in producing footage around the popular 2:1 aspect ratio when using the camera’s 3:2 open gate mode. At the same time, the Vintage’74 line should bring the aesthetics of vintage glass.

Price and availability

As with other HAWK cinema lenses, the two new Vintage’74 pieces are rental-only. On their website, HAWK claims the HAWK65 Vintage’74 35mm T2.6 lens will be available from October 2024.

For more information on rates and availability, please contact HAWK / Vantage directly.

Do you have experience shooting with HAWK lenses? Do you think 1.3x anamorphic is a way to go? Let us know in the comments section underneath the article.

Nikon was among the last players to enter the mirrorless game. The company took an initial shot with their innovative (but rather unsuccessful) “1 series” in 2011, but it wasn’t until late 2018 that the Japanese manufacturer announced the Z series. The company also initially blocked third-party optics and only recently allowed some development, so they are still heavily dependent on in-house R&D and production.

Nikon has produced some impressive optics for the Z-Mount over the years and took an innovative path regarding their mirrorless lineup. Arguably, the most prominent set of the Z-Mount is the f/1.8 “S” prime line. Taking the higher road, these lenses denounce the affordability associated with f/1.8 prime lenses for a new approach. Modern optics and better build made them larger than traditional f/1.8 primes, but that was partially offset by the modest aperture, so the set is substantially smaller than the SIGMA Art lenses. Nikon managed to create a compact yet high-end prime set.

Enter the Nikon NIKKOR Z 35mm f/1.4

The new Nikon NIKKOR Z 35mm f/1.4 occupies an odd segment. It’s 2/3 stops faster than the 35mm f/1.8 S while maintaining a similar size and the same 62mm front filter diameter. The new lens foregoes the AF/MF switch but gets a useful function ring for various assignable functions. To top it off, weather sealing is also in place. So why didn’t Nikon assign it with the premium “S” – and why is it priced at a more affordable sum than the slower, older, function-ring-less 35mm f/1.8 S?

The secret is in the (optical) sauce?

The new NIKKOR Z 35mm f/1.4 optical formula consists of 11 elements in 9 groups, two of which are aspherical elements. This is simpler than its f/1.8 S counterpart, boasting 3 aspherical and two ED (Extra-low Dispersion) elements. The latter also got Nikon’s top Nano Crystal Coating. Both lenses use 9 rounded aperture blades. The NIKKOR Z 35mm f/1.4 weighs 415g/0.91 lbs, while the f/1.8 is a tad lighter at 370g/0.81 lbs. While we haven’t had the chance to examine the lens’ performance, the simpler optics, combined with a faster aperture, could lead to inferior technical quality.

Geared for video

This new lens complements Nikon’s newfound video passion. The current crop of impressive hybrids, with some high-end video features, dictates some updates to the lens lineup. The new 35mm f/1.4 delivers – suppressed focus breathing, a silent STM motor for focusing, and a clickless function ring that will make motion capture more streamlined. Its compactness will ease rigging and gimbal work.

Where should we place the NIKKOR Z 35mm f/1.4?

The NIKKOR Z 35mm f/1.4 is quite an anomaly, at least in modern optic terms. Just try to recall the last time you saw an f/1.4 lens priced lower than a similar f/1.8 in the same line when both were still in production. We have had premium f/1.8 lenses, such as the Sony ZEISS 55mm f/1.8, but Nikon’s situation is different and rather rare.

If anything, this new NIKKOR lens reminds me of traditional 50mm f/1.4 DSLR lenses. Those were moderately affordable, provided excellent light-gathering capability at the bright end, and excellent technical quality at narrower aperture settings. Fairly compact, they often used simple double Gauss designs and were relatively soft at f/1.4. No fancy construction either. They were mainly “plastic-fantastic.” But they worked.

Optimal compromise

In a world of extreme resolution and painfully sharp lenses, Nikon took the road less traveled. Instead of focusing on pristine optical performance (pun!), the company chose to emphasize compactness, ease of use, and affordability. The company markets the new 35mm towards hybrid content creators as well as APS-C shooters (as a fast, normal option, 53mm equivalent). It should also work for all kinds of documentary photography, environmental portraits, etc. An interesting move on Nikon’s part.

Price and availability

The Nikon NIKKOR Z 35mm f/1.4 Lens will set you back $596.95 / €638.53. The lens is available for pre-order with estimated shipping in mid-July.

Do you like Nikon’s move towards compact, affordable, and fast f/1.4 lenses? Will you compromise absolute technical quality for such features? Let us know in the comments.

Last year in November, the Chinese lens & accessories manufacturer SIRUI announced the Sniper line of prime lenses – the company’s first autofocus lenses. These three APS-C primes – 23mm, 33mm, and 56mm – offer a fast f/1.2 aperture with AF capability for FUJIFILM, Nikon, and Sony mirrorless cameras. Earlier this year, CineD visited the SIRUI factory and peeked behind the scenes of the lens production including the Sniper primes. In case you missed it, make sure to check out the factory tour article and video!

Now, SIRUI is expanding their Sniper prime lens series with two new focal lengths – 16mm f/1.2 and 75mm f/1.2. Let’s take a quick look at the details.

SIRUI Sniper 16mm and 75mm f/1.2 lenses

With the addition of these two new focal lengths, the SIRUI Sniper APS-C lens series will include the following models:

• 16mm f/1.2 (full-frame equivalent of 24mm f/1.8 – approximately)
• 23mm f/1.2 (full-frame equivalent of 35mm f/1.8 – approximately)
• 33mm f/1.2 (full-frame equivalent of 50mm f/1.8 – approximately)
• 56mm f/1.2 (full-frame equivalent of 84mm f/1.8 – approximately)
• 75mm f/1.2 (full-frame equivalent of 113mm f/1.8 – approximately)

The aperture of the 16mm lens features 13 blades (15 blades for the 75mm lens) and is available between f/1.2 and f/16. The minimum focusing distance for the 16mm lens is 0.3m and for the 75mm it is 0.7m.

Optics and autofocus

The lenses include ED and high refractive index glass elements as well as an HD nano-coating to suppress flare and ghosting. Distortion and optical aberration are well controlled according to SIRUI. The 16mm wide-angle lens features an extra pair of aspherical lenses to reduce lens size further.

The autofocus mechanism in these lenses utilizes an STM motor. SIRUI claims, the AF is accurate, quick, and silent and that it’s suitable both for stills and video. The overall AF performance will, of course, also depend on the camera body. The focus breathing should also be minimal according to the manufacturer.

Located at the front of the lens, the wide focusing ring has a texturized finish for a better grip and it features electronic manual focus with 360° focus throw.

Physical specs, filter thread, lens mounts

Physically, these two new lenses are designed to be similar in size and weight to the existing focal lengths. The weight of each lens is 384g/0.8 lbs (16mm f/1.2) and 466g/1 lbs (75mm f/1.2). The length is 94mm (3.7″). Each lens features a USB-C port integrated into the mount which can be used for firmware updates. The front filter thread size is 58mm (16mm f/1.2) and 67mm (75mm f/1.2).

Just like the first three Sniper primes, the two new focal lengths will also be available for three different lens mounts – FUJIFILM X, Nikon Z, and Sony E. There will be three color options – black, silver, and white.

Price and availability

As I already mentioned at the beginning, the new SIRUI Sniper 16mm and 75mm f/1.2 lenses are available via SIRUI’s crowdfunding campaign on Indiegogo. During the campaign, the company is offering early bird prices at 20% off. That means each lens costs $319 (instead of $399 at full retail price) and a set of both lenses costs $638 (instead of $798 at full retail price). Each lens comes with both lens caps, a matching-color lens hood, and a carrying pouch (lens case for the 2-lens kits).

Please note: Unlike other crowdfunded products that are often in the development stage, SIRUI claims, their lenses are finalized, assembled, tested, and ready for shipping. The company has been traditionally using Indiegogo as a platform to sell the first batch of newly launched lenses. The current campaign is running until July 18, so there is still some time to take advantage of the early bird price. I suppose after that, the lenses will be available in SIRUI’s online shop, and through regular vendors.

Do you use any of the SIRUI Sniper lenses for your projects? How do you like the image quality and performance? What do you think about the two new focal lengths? Let us know in the comments section underneath the article.

After the 17-50mm F/4 and the 70-180mm F/2.8 Di III VC VXD G2, Tamron continues to expand their lineup of zoom lenses for full-frame Sony E-Mount mirrorless cameras by launching a new telephoto zoom lens: the 50-300mm F/4.5-6.3 Di III VC VXD.

Tamron 50-300mm F/4.5-6.3 Di III VC VXD – features

The 50-300mm F/4.5-6.3 Di III VC VXD (codename A069) is a compact telephoto zoom lens that, when retracted, measures 150mm/5.9in and weighs 665g/23.5oz. You’ll find a zoom lock mechanism on the lens barrel, as the lens expands when you zoom in.

This lens is only available for Sony E-Mount mirrorless cameras and covers full-frame image sensors. Inside the lens is a VXD (Voice-coil eXtreme-torque Drive) linear focus motor, similar to other Tamron lenses, that should provide fast and accurate autofocus performances. Furthermore, it is compatible with Fast Hybrid AF and Eye AF focus modes.

On the lens barrel, you’ll find a user-assignable Focus Set Button. The lens also has a USB Type-C port that allows you to update and customize it via Tamron’s Lens Utility software.

The lens has multiple internal joints, which make it moisture-resistant. Inside the lens, you’ll also find a Vibration Compensation motor to stabilize your shots, something handy with such a vast zoom range.

Lens design

The 50-300mm F/4.5-6.3 Di III VC VXD lens design consists of 19 elements in 14 groups, including two XLD (eXtra Low Dispersion) and two LD (Low Dispersion) lens elements to control and reduce chromatic aberrations.

The front element has a Fluorine coating to help with cleaning and add an extra protection layer. The aperture diaphragm features nine circular blades, the minimum focusing distance is 22cm/8.7in at 50mm, and the front filter thread is 67mm.

Price and availability

The 50-300mm F/4.5-6.3 Di III VC VXD can be pre-ordered now for $799/€808 and should start shipping by June 27th, 2024. The lens comes with front and rear caps and a flower-shaped lens hood.

For more information, please visit Tamron’s website here.

What do you think about this new compact telephoto zoom lens? Do you often shoot with telephoto lenses? Don’t hesitate to let us know in the comments below!

Ulanzi entered the filmmaking industry in 2015 by releasing quick-release systems and then expanded to many other types of products, including microphones, tripod systems, LED lights, camera cages, etc. No less than 3,400 product releases later, the company is entering the lens market with a first prime lens for Sony E-Mount APS-C cameras: the 27mm F/2.8.

Ulanzi 27mm F/2.8 – features

The Ulanzi 27mm F/2.8 is a compact prime lens with a length of only 48.1mm/1.8in. It is mainly made of plastic and weighs 182g/6.4oz.

As previously mentioned, this lens is only available in Sony E-Mount and covers APS-C image sensors. Ulanzi mentions that it is compatible with the Sony ZV-E1/E10 and Sony A1/A5000/A6000/A7/A9/NEX-series cameras. However, Ulanzi does not mention cinema cameras, such as the Sony FX30. On the side of the lens, there is a USB-C port for future firmware updates, so it’s possible that other cameras will be added in the future.

This 27mm F/2.8 prime lens communicates with your Sony camera and has autofocus capabilities. According to Ulanzi, it supports Eye Tracking and in-camera distortion/chromatic aberration correction.

Lens design

The lens design of this 27mm F/2.8 prime lens consists of 6 elements in 5 groups. The front filter thread has a diameter of 52mm. Lastly, the minimum focus distance is 30cm/11.8in.

Price and availability

The Ulanzi 27mm F/2.8 is available now for $139.95/€159.95.

For more information, please visit Ulanzi’s website here.

What do you think about this first Ulanzi lens? Would it be a nice addition to your kit? Don’t hesitate to let us know in the comments below!

After introducing three compact Super35 zoom lenses during NAB 2024 less than two months ago, namely the Laowa Ranger 11-18mm, 17-50mm, and 50-130mm, all with a maximum T2.9 aperture, Chinese lens manufacturer Venus Optics is already back with eight new prime lenses in a new lineup: the Argus T1 cine series.

Laowa Argus T1 Cine Series – features

According to the company, the Laowa Argus T1 Cine series is “the world’s first T1 aperture cine series available in Full Frame with a wider 28mm and 35mm.” ZY Optics released a Mitakon full-frame 50mm T1 lens a couple of years ago, but they have yet to complete the lens set with wider options.

Back to our topic, the Argus T1 lineup consists of eight lenses:

• Full-frame: 28mm, 35mm, and 45mm. Available in Canon RF, Sony E, and Nikon Z mount.
• Super35: 18mm, 25mm, and 33mm. Available in Canon RF, Sony E, Nikon Z, and FUJIFILM X-mount.
• MFT: 18mm and 25mm.

Laowa mentions that the color rendition and lens performance will be consistent across the lens set, with low chromatic aberration, while maintaining contrast and sharpness even at maximum aperture.

All lenses’ housings are entirely made of metal. They have 0.8mod gears on the aperture and focus rings, and a large focus throw that ranges from 210 to 270 degrees.

All Laowa Argus T1 lenses have a 77mm filter thread and an 80mm front diameter for matte boxes. The technical specifications for each lens are below.

Price and availability

The Laowa Argus T1 Cine full-frame lenses retail for $1,499/€1,527 per lens and $3,999/€4,081 for the three-lens set. The Super35 lenses retail for $899/€916 each or $2,399/€2,444 for the three-lens set. Lastly, the MFT version is $699/€708 per lens and $1,259/€1,280 for the bundle of two.

For more information, please visit Laowa’s website here.

What do you think about these new Argus T1 cine series lenses? Would their T1 aperture be helpful for the kind of projects you shoot? Have you already shot with Laowa lenses? Don’t hesitate to let us know in the comments below!

We’ve seen quite some cine sets join the market in recent years. Various new manufacturers try to master the complex craft (sometimes even art) of lens making, providing us filmmakers with an incredible abundance. Most sets seem to take the “character” approach, glorifying optical flaws as a feature rather than a bug. DZOFilm chose the second approach with their Arles line – the technical, clinical approach. This line competes with the likes of NiSi ATHENA and SIGMA Art Cine lines, as well as more traditional sets from ZEISS and others.

Build and ergonomics

All DZOFilm Arles primes share identical dimensions. Encased in a black aluminum chassis with geared focus and aperture rings, the lenses can be easily swapped. Weight revolves around 1600g/3.52 lbs., with the 25mm T/1.4 being the lightest at 1490g/3.28 lbs. The 100mm T/1.4 is the heaviest at 1830g/4.03 lbs. All lenses share a 95mm front diameter, 121mm length for the PL version, and 129mm length for the EF version. The Arles lenses will use PL mount as a default with the EF as an extra. Mounts are user-swappable. Another nice touch is user-swappable markings for your choice of metric or imperial focus distance scales.

Optical traits

All the DZOFilm Arles lenses use a rather complex optical design and are relatively large as a result. These designs are all aimed at ensuring highly corrected projection with minimal distortions and aberrations. The line is designed to maintain a consistent look across all focal lengths. These are all manufacturer’s claims, and we’ll try to get our hands on the set to confirm them. However, the sample footage looks fairly good in that regard.

Alternatives

There are several options for a technical, clinical cine line around. The NiSi ATHENA line is about a stop slower but compensates with a lower price tag. For about the same price as the Arles 5-lens set, you can get an 8-lens set, ranging from 14mm to 135mm. SIGMA Cine Art is considerably pricier, with a 5-lens set priced at $19,000, but still relatively affordable compared with other manufacturers. SIGMA’s reputation and experience may be the extra for some of us. If reputation is important, you should also check the ZEISS Nano Prime line. This line will only work with Sony E-Mount though.

Price and availability

All DZOFilm Arles lenses are available for order. The 5-Lens set will set you back $9,699 at B&H or €9178.14 at CVP (ex. VAT). Each lens will cost $2,149 / €2,038.67 (ex. VAT).

Does the DZOFilm Arles T/1.4 prime hit a sweet spot for your creative needs? Will you consider getting them or opt for a different set? Let us know in the comments.