Rokinon Cine lenses are here!!

[Paul Harding]

I have been using the 35 cine version, nice pics but I am getting a yellowish cast , anybody else seen this

 

[Matt W.]

85mm 1.5 is coming in November.

They are a 50mm away from providing an entire lens set for under 3K.

No. They still need an 18mm f1.4 (for APS-C). Shooting a super35 show without something wider than 24mm is just....difficult.

$499 for the 24mm f1.4 (non-cine) at buydig.com with pop200 coupon code today if anyone is interested. I think it's easy enough to remove the aperture clicks and gear rings are cheap. For those not satisfied with saving thousands of dollars off a real cinema lens and who want to save $200 more.

 

[Nick Morrison]

No. They still need an 18mm f1.4 (for APS-C). Shooting a super35 show without something wider than 24mm is just....difficult.

I'd be SHOCKED if they can pull this off, especially for a bargain price. Has anyone even produced an F2 wideangle lens for APS-C? Ie an 18mm or 19mm? I get the impression...the wider you get...the exponentially more difficult it must be to make a fast lens. But hey...maybe they'll prove us all wrong, and we'll have a $500 Super Speed 18mm!

 

[Matt W.]

I'd be SHOCKED if they can pull this off, especially for a bargain price. Has anyone even produced an F2 wideangle lens for APS-C? Ie an 18mm or 19mm? I get the impression...the wider you get...the exponentially more difficult it must be to make a fast lens. But hey...maybe they'll prove us all wrong, and we'll have a $500 Super Speed 18mm!

To be fair, Canon has produced only one EF-S prime (60mm f2.8) and I think Nikon has only produced one (35mm f1.8). Fuji has an 18mm f2, but I believe its back extends too far for non-rangefinders, and it's a tiny pancake.

I don't know much about lens design, but I don't think it's impossible or even that difficult. Look at superspeeds for s35 vs s16; the focal lengths get much wider on the smaller format, but the lenses stay small and retain their speed. Whereas UWA cinema lenses for s35 (14mm and wider) get positively HUGE and expensive, 18mm ones are only slightly larger than normal. I've heard it suggested that the 24mm f1.4 FF design, for instance, could be used as the basis of an 18mm f1.4 design for APS-C. Samyang has a 10mm f2.8 for super35/APS-C, fwiw, and no one has a prime that fast and wide for FF. SLR Magic has a tiny 12mm f1.6 lens for M43. Voiglander's 17.5mm f0.95 for M43 is not that big; Nikon has a patent on a full frame 18mm f1.8 lens, but it looks enormous. I think it's a matter of field of view and speed, not focal length and speed.

I'd expect a wide for APS-C/super35 would cost as much, if not more, than the 24mm (which is more like a 16mm for FF), and that's the real reason no one has made it. Since digital became popular, speed began to matter less (especially with IS) so the majority of APS-C lenses are IS zooms, f2.8 or slower. Fast primes exist for FF because that's the ultimate "low light/bokeh" format, but even there zooms are most popular.

I think it's an issue of market, not of feasibility. There hasn't been a market for a fast borderline ultrawide APS-C lens until the "cheap cinema" market appeared. And if anyone is catering to it, it's Samyang. I have no reason to think they'll make this lens (or honestly that the market for it is educated enough to realize how groundbreaking its introduction could be for aspiring shooters--everyone who asks me or advice when buying lenses focuses on brand name and doesn't care one bit about filling out a kit with the appropriate focal lengths that their clients will need) but I hope they do.

 

[Nick Morrison]

I think it's an issue of market, not of feasibility. There hasn't been a market for a fast borderline ultrawide APS-C lens until the "cheap cinema" market appeared. And if anyone is catering to it, it's Samyang.

Oh yeah, it's certainly feasible. Super Speeds (and even Standards) have been around for decades. Making a wide angle lens that's a T2 or faster is totally doable. However...the lack of any such APS-C lens so far suggests to me that...as you say...it may be a tricky balance of expense and market size. But if anyone is well poised to figure it out...its Samyang, agreed.

 

[Matt W.]

I'm not convinced it would be any harder than making a 24mm f1.4 for full frame, it's just that the market would be smaller. Again, Nikon and Canon each produce a total of one APS-C/super35-specific prime, in any variation. I think it might be much more a matter of market size than of feasibility. But while I assume the market would be big now (every 7D videographer, in theory, should desperately want a $1800 superspeed set), most dSLR shooters seem to make incredibly ignorant lens choices, favoring the 50mm f1.2L, for instance, over anything else, and ignoring crucial focal lengths in favor of showy lenses like weird UWAs, fisheyes, and ultra-telephotos that have no appeal or tradition in narrative filmmaking or just buying anything that reads Zeiss (i.e. Cosina). But I think C300 and Scarlet owners might like such a kit, too, and some of those owner/ops are more educated and nothing against Zeiss CP2s except the cost for the performance is really a lot.


Furthermore, Nikon's 35mm f1.8 DX is $200 whereas their FF 35mm f1.4 is $1600 so it's clear that having to cover a smaller area demands much less of lens designers (the 35mm f1.8 DX is also phenomenal optically and surprisingly doesn't bump up against the mirror of a FF camera).


I have no worries, though…I'm shooting on a 5D, and just ordered a 24mm to complete my Rokinon set. But it would be nice to not have to shoot on a 5D to have a fast cheap ultra wide.

 

[Mike Garrick]

Ok I have the non cine 35mm & 85 will also get the 24mm. Had the 14mm but offloaded it because it was covered by the Tokina 11 -16mm

Anyway my question concerns the 35mm......

The lens in still form has some "breathing" so focus pulling on it isn't optimum. I believe the cinevised version is exactly the same as the still version just with no click stops & focus gear but still with the same slight breathing issue which IMO negates the focus gear . If this is the case any reason to change ?

 

[Paul Ellington]

Ok I have the non cine 35mm & 85 will also get the 24mm. Had the 14mm but offloaded it because it was covered by the Tokina 11 -16mm

Anyway my question concerns the 35mm......

The lens in still form has some "breathing" so focus pulling on it isn't optimum. I believe the cinevised version is exactly the same as the still version just with no click stops & focus gear but still with the same slight breathing issue which IMO negates the focus gear . If this is the case any reason to change ?

Phil and M. Duclos would know, but from my experience, why I love the RPPs is that they don't breathe but the CP2s do, a lot. That being said, not bad price for using when people can't afford the RED PRO PRIMES... People get upset when I wont use my primes on budget shoots... This would give them an eco' way to move forward.

 

[Matt W.]

Phil and M. Duclos would know, but from my experience, why I love the RPPs is that they don't breathe but the CP2s do, a lot. That being said, not bad price for using when people can't afford the RED PRO PRIMES... People get upset when I wont use my primes on budget shoots... This would give them an eco' way to move forward.

RPPs are phenomenal optically. But they are very large.

From what I understand the cinema versions breathe just as much, but you can hide breathing in a move or Resolve can correct it for it, I think. But yeah, that is a definite trade off with these lenses.

 

[Paul Ellington]

RPPs are phenomenal optically. But they are very large.

From what I understand the cinema versions breathe just as much, but you can hide breathing in a move or Resolve can correct it for it, I think. But yeah, that is a definite trade off with these lenses.

I love the size and weight of the RPPs (maybe not when flying), but yeah bet your life the Rokinon's will breathe. Hiding it in a move or post, maybe but it blows. If it's a project you care deeply about Rent a set of RPPs. Still the best value out there.

 

[Shervin Mandgaryan]

Just wrapped up a small shoot with these lenses and I still smile every time I look at the image. These lenses are of incredible value. I apologize for the crappy facebook compression, but you get the point. These are stills straight from ungraded .r3d's.

 

[Bob Gundu]

These look great Shervin. I'd love to see the final project.

Just wrapped up a small shoot with these lenses and I still smile every time I look at the image. These lenses are of incredible value. I apologize for the crappy facebook compression, but you get the point. These are stills straight from ungraded .r3d's.

 

[Joachim Hoge]

I first got the 24mm from B&H as the 35mm was backordered (received it the other day, not used it yet). looked very good wide open when used on a night time street location.
I saw that the 85mm is now ready for pre-order at B&H, expected in December. Still no word on the 50mm though

PS Shots looks great Shervin

 

[Zack McTee]

Wrapped a short film a couple weeks ago that we shot on the Scarlet with mostly the 24mm Rokinon Cine Lens. Here are some grabs:

 

[Kemalettin Sert]

is there any glass quality difference between cine & photo versions?

 

[Patrick Wieland]

Whats everyone feelings about the build quality? I know they are sub 1k lenses so I can't expect too much but I've read a lot of people claim them to be really plastic y.

 

[Victor Nguyen]

build quality is decent. It is made out of plastic but it is high quality. Nothing beat the feel of a metal lens though.

 

[Shervin Mandgaryan]

I hope with enough pressure Samyang will create metal cine housings for a new lineup of 'pro' cine lenses. PL mount, proper witness marks, same size diameter ends, and of course a reliable metal build. If they charge $2k a lens or less, they'll create a whole new market of new pro superspeed cinema primes.

I have a feeling the mechanical element of these lenses (focus and potentially aperture rings) will give in one day. I've opened them up and found relatively cheap plastic and metal parts. They won't last long if you use them alot, but for the image it creates, the price is laughably cheap.

 

[Mike Garrick]

So are these truly disposable lenses. Use them till they fall apart then buy another .......? Given modern manufacturing tech. is this the future?

P.S. Shervin, Eyepiece pads arrived downunder no problems thanks I'll keep an eye out for some more ; ).

 

[Shervin Mandgaryan]

So are these truly disposable lenses. Use them till they fall apart then buy another .......? Given modern manufacturing tech. is this the future?

P.S. Shervin, Eyepiece pads arrived downunder no problems thanks I'll keep an eye out for some more ; ).

I wouldn't say that quite so far yet. I haven't had a single hiccup with my lenses, except for stiffness in the focus rings when in cold weather. That being said, there are quite a few mechanical parts in the lens that look flimsy and not necessarily made for professional or rigorous use. I use my set (24,35 & 85) regularly and if one ever fails to function and isn't fixable with an easy repair, I'll be quite happy to re-purchase since they're incredibly cheap.

Glad to hear the cushions arrived.