For a versatile full-frame cine lens setup, I’d start with the DZOFILM Catta 35-80mm and 70-135mm bundle: its two zooms cover a broad range of shots without requiring a lens change for every framing adjustment. The SIRUI VP-1 50mm T1.4 stands out as a fast standard prime, while the SIRUI Astra anamorphic options suit filmmakers who want a widescreen look with autofocus. These lenses make different tradeoffs: zoom flexibility versus fast prime apertures, conventional spherical rendering versus anamorphic character, and manual focus versus autofocus. Mount compatibility and whether you need a matched set also shape the choice. Read on for the full breakdown and a guide to choosing cine lenses for your camera and workflow.
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Key Takeaways
The Catta zoom bundle offers the broadest framing range in this lineup, making it a practical starting point when changing lenses slows a shoot.
The VP-1 primes prioritize speed and focal-length choice: the 35mm, 50mm, and 75mm T1.4 options let buyers build around a consistent prime family.
The Astra anamorphics combine a widescreen look with autofocus, while the manual-focus primes better fit crews who want direct, repeatable focus control.
Several listings are mount-specific or limited in focal length, so a lens’s look only matters if it fits the camera and coverage the project requires.
Special effects lenses serve narrower creative goals: the 7artisans Floral Bloom 37mm emphasizes distinctive bokeh, while the Simera-C 28mm offers a wide-angle cine prime alternative.
| cine lenses full frame | Focal length | Mount | Maximum aperture | Focus type |
|---|---|---|---|---|
| DZOFILM Catta 35-80mm and 70-1 | — | Sony E | — | — |
| SIRUI VP-1 Vision Prime 1 75mm | 75mm | — | T1.4 | — |
| 7artisans 50mm T1.5 Dream Seri | 50mm | Nikon Z | T1.5 | Manual |
| SIRUI VP-1 Vision Prime 1 50mm | 50mm | — | T1.4 | Manual focus |
| SIRUI Astra 75mm 1.33X Auto Fo | 75mm | Sony E | T1.8 | Auto/manual |
| 7artisans 35mm T1.5 Dream Seri | 35mm | Canon RF (also available E, Z, L) | — | Manual |
| SIRUI VP-1 Vision Prime 1 35mm | 35mm | — | T1.4 | Manual Focus |
| 7artisans 35mm T1.5 Dream Seri | 35mm | Nikon Z | — | Manual |
| 7artisans 37mm T2.9 Floral Blo | 37mm | PL | T2.9 | Manual |
| SIRUI Astra 1.33x Full-Frame A | — | Sony E-mount | T1.8 | — |
| 7artisans 35mm T1.5 Dream Seri | 35mm | Sony E, Nikon Z, Canon RF, Leica L | — | Manual |
| 7artisans 50mm T2.0 Full-Frame | 50mm | — | T2.0 | Manual |
| Thypoch Simera-C 28mm T1.5 Cin | 28mm | Sony E | T1.5 | — |
| SIRUI Astra 50mm T1.8 1.33X Au | 50mm | Sony E | T1.8 | — |
More Details on Our Top Picks
DZOFILM Catta 35-80mm and 70-135mm T2.9 Cine Lens Bundle for Sony E Mount
For a Sony E filmmaker who needs full-frame coverage across changing scenes, this bundle offers more framing range than the fixed primes in this roundup. The 35-80mm and 70-135mm zooms meet at 70-80mm, so a lens change can preserve a familiar framing while moving between setups. Both share a T2.9 maximum aperture, making exposure more consistent across the pair than switching between lenses with different maximum apertures. Compared with the SIRUI VP-1 50mm T1.4, the Catta lenses trade light gathering and a smaller kit footprint for flexible reframing without swapping focal lengths. The included hard case, support bases, and rods help build a ready-to-rig kit, though the zoom pair and accessories take more space than a single prime. This is the most adaptable choice here for productions that value coverage over a very fast aperture.
Pros:- Two zoom ranges cover 35-135mm with an overlap for flexible reframing
- Both lenses share a T2.9 maximum aperture
- Full-frame coverage for Sony E mount
- Includes a hard case, support bases, and rods
Cons:- T2.9 is slower than the T1.4 and T1.5 primes in this roundup
- A two-zoom kit occupies more space and requires more support gear than a single prime
Best for: Sony E filmmakers covering events, interviews, or narrative scenes who need full-frame zoom flexibility and support hardware in one kit
Not ideal for: Low-light crews or compact gimbal operators who prioritize a faster aperture and a lighter single-lens setup
- Lens 1:35-80mm T2.9 cine zoom
- Lens 2:70-135mm T2.9 cine zoom
- Mount:Sony E
- Coverage:Full frame
- Color:Black
- Included accessories:Hard case, front and rear caps, shim sets, support bases, and support rods
Our verdict“Choose the Catta bundle if full-frame focal-length flexibility and a supported zoom setup matter more than a very fast aperture or a compact kit.”
SIRUI VP-1 Vision Prime 1 75mm T1.4 Full-Frame Cine Lens
The SIRUI VP-1 75mm is the specialist pick for close portrait framing and shallow focus on a full-frame camera. Its T1.4 maximum aperture gives it a light-gathering advantage over the DZOFILM Catta zooms at T2.9, while the 75mm focal length helps separate a subject from the background. Compared with the VP-1 50mm, this version gives a tighter view, which can flatter interviews and isolate details but leaves less room in confined locations. Its interchangeable E, RF, Z, and L mounts make the lens easier to carry between compatible camera systems than the Nikon Z-only 7artisans 50mm T1.5. The cost of that flexibility is a fully manual focus workflow: solo shooters relying on autofocus should look at the SIRUI Astra 75mm anamorphic instead. The aluminum alloy body weighs around 600 g, a manageable fit for many rigs.
Pros:- T1.4 maximum aperture for low-light work and shallow depth of field
- 75mm focal length suits portraits and tighter interview framing
- Interchangeable E, RF, Z, and L mounts
- Aluminum alloy body weighs around 600 g
Cons:- Manual focus only, with no autofocus option
- The 75mm view can feel restrictive in tight locations
- A fixed prime cannot reframe as quickly as the DZOFILM Catta zoom pair
Best for: Full-frame interview and portrait filmmakers who want a fast 75mm prime and may switch among E, RF, Z, and L camera systems
Not ideal for: Solo operators who depend on autofocus or filmmakers who need a wider, more versatile framing angle in small spaces
- Focal length:75mm
- Maximum aperture:T1.4
- Lens type:Full-frame cinema prime
- Focus:Manual
- Mounts:E, RF, Z, L
- Filter thread:67mm
- Outer diameter:72mm
- Weight:Around 600 g
- Body material:Aluminum alloy
Our verdict“Pick this lens for low-light portrait work across compatible camera systems if you are comfortable pulling focus manually.”
7artisans 50mm T1.5 Dream Series Manual Focus Cine Lens for Nikon Z Mount, Black
This Nikon Z version of the 7artisans Dream Series 50mm is aimed at crews who want deliberate, repeatable focus pulls from a full-frame normal prime. Its 300° focus throw gives a focus puller more rotation to work with than a casual stills lens, and geared rings plus accessory screw threads suit follow-focus and rigged setups. The T1.5 aperture is bright for available-light scenes, though it does not match the SIRUI VP-1 50mm’s T1.4 rating. The 10-blade aperture is designed for smooth bokeh, giving this lens a softer character than the more system-flexible VP-1. That specialization comes with clear limits: it is manual focus only, fixed at 50mm, and made for Nikon Z rather than interchangeable mounts. For a shooter who wants one adaptable kit across camera bodies, the SIRUI is the easier fit.
Pros:- T1.5 maximum aperture supports low-light filming
- 300° focus throw allows controlled manual pulls
- Geared rings and four accessory screw threads support rigging
- 10-blade aperture is designed for smooth bokeh
Cons:- Manual focus only, with no autofocus option
- Fixed 50mm framing limits flexibility between setups
- Nikon Z mount is less adaptable than the SIRUI VP-1’s interchangeable mounts
Best for: Nikon Z filmmakers building a manual-focus rig who value a long focus throw and geared controls on a full-frame 50mm prime
Not ideal for: Hybrid or solo shooters needing autofocus, crews changing focal lengths quickly, or owners of non-Nikon Z cameras
- Brand:7artisans
- Focal length:50mm
- Maximum aperture:T1.5
- Mount:Nikon Z
- Focus type:Manual
- Sensor coverage:Full frame (43.5mm image circle)
- Aperture blades:10
- Focus throw:300°
- Color:Black
Our verdict“Choose this 7artisans prime if your Nikon Z production favors geared manual focus and a bright normal view over autofocus or focal-length flexibility.”
SIRUI VP-1 Vision Prime 1 50mm T1.4 Full Frame Cine Lens (E/RF/Z/L Mount)
Among the standard primes here, the SIRUI VP-1 50mm makes the most sense for filmmakers who need one full-frame lens design to move between camera systems. Its interchangeable E, RF, Z, and L mounts give it broader body compatibility than the Nikon Z-only 7artisans 50mm T1.5, while the T1.4 aperture is slightly faster than that lens’s T1.5 rating. At around 600 g, its aluminum alloy body is also suited to handheld and gimbal builds. The tradeoff is a manual-only focus workflow; the SIRUI Astra 75mm offers autofocus, though its anamorphic design and longer focal length serve a different look. This VP-1 is a conventional 50mm prime, with no stabilization and no water resistance listed, so camera support and weather protection remain part of the setup.
Pros:- T1.4 aperture suits low-light scenes and shallow focus
- Interchangeable mounts support E, RF, Z, and L systems
- Around 600 g body suits handheld and gimbal work
- Consistent size, weight, and gear positions across the VP-1 series
Cons:- Manual focus only
- No image stabilization
- Not water resistant
Best for: Filmmakers who shoot on full-frame E, RF, Z, or L mount cameras and want a fast, lightweight 50mm cine prime
Not ideal for: Solo operators who need autofocus, crews seeking anamorphic rendering, or productions exposed to wet conditions
- Focal length:50mm
- Maximum aperture:T1.4
- Minimum aperture:T16
- Focus type:Manual focus
- Mounts:Sony E (pre-installed), Canon RF, Nikon Z, Leica L (interchangeable)
- Angle of view:39.6 degrees
- Filter thread:67mm
- Weight:Around 600 g
- Image stabilization:No
Our verdict“Pick the VP-1 50mm if you need a fast standard cine prime that can move across supported camera mounts and you can manage focus manually.”
SIRUI Astra 75mm 1.33X Auto Focus Full-Frame Anamorphic Cine Lens for Sony E Mount (Blue Flare)
The SIRUI Astra 75mm is the outlier for buyers who want a widescreen anamorphic image with autofocus on a full-frame Sony E camera. Its 1.33x squeeze factor produces a 2.35:1 image in a single step, while the blue flare gives highlights a distinct character that conventional primes such as the SIRUI VP-1 75mm T1.4 do not target. Autofocus, an AF/MF switch, and LiDAR follow-focus compatibility make it more accommodating for solo and hybrid crews than the manual-only VP-1. Its T1.8 aperture is still fast, but not as bright as the VP-1’s T1.4. At 649 g, it is a specialized prime rather than a flexible zoom, and the lack of image stabilization means handheld movement depends on the camera or support system.
Pros:- 1.33x squeeze creates a 2.35:1 widescreen image in a single step
- Autofocus and AF/MF switch support varied shooting workflows
- T1.8 aperture suits low-light filming
- LiDAR follow-focus compatibility supports rigged focus control
Cons:- Fixed 75mm focal length limits framing flexibility
- No built-in image stabilization
- Blue flare is a strong visual choice that may not suit every scene
Best for: Sony E filmmakers pursuing a 2.35:1 anamorphic look who want autofocus alongside manual and LiDAR focus workflows
Not ideal for: Crews wanting neutral flare, stabilization, a wider range of focal lengths, or the fastest aperture available in this lineup
- Focal length:75mm
- Squeeze factor:1.33x
- Image circle:44mm
- Maximum aperture:T1.8
- Focus type:Auto/manual
- Mount:Sony E
- Flare type:Blue flare
- Weight:649 g
- Image stabilization:No
Our verdict“Choose the Astra 75mm if you want full-frame Sony E anamorphic framing with autofocus and prefer blue flare as part of the image.”
7artisans 35mm T1.5 Dream Series Manual Focus Cine Lens (Full-Frame, Canon RF Mount)
For Canon RF shooters who want genuine cine behavior without professional-grade pricing, this option stands out for its 11-blade T1.5 aperture, which renders round, creamy highlights that cheaper photo primes simply can’t match. The 300° focus throw and geared metal rings translate directly into smoother, more repeatable focus pulls on set. Compared with the SIRUI VP-1 35mm T1.4, this model gives up edge sharpness and the swappable mount system, but its rendering character is arguably the point — the “Dream” look favors atmosphere over clinical resolution. The tradeoffs are real: manual focus only, and the metal cine build makes it noticeably bulkier than a standard 35mm photo prime. This pick makes the most sense for RF-mount filmmakers prioritizing look over versatility.
Pros:- Fast T1.5 aperture keeps footage clean in low light
- 11-blade aperture delivers smooth, circular bokeh with 3D depth
- Full-frame coverage on a 43.5mm image circle with no crop
- Geared metal rings and 300° throw suit rig-mounted focus pulls
Cons:- Manual focus only — no autofocus option
- Cine body is bulkier and heavier than standard photo primes
Best for: Canon RF filmmakers who want cinematic bokeh and true cine handling on a budget
Not ideal for: Solo run-and-gun shooters who rely on autofocus to capture fast-moving subjects
- Focal Length:35mm
- Aperture:T1.5
- Mount:Canon RF (also available E, Z, L)
- Focus Type:Manual
- Aperture Blades:11
- Image Circle:43.5mm
- Focus Throw:300°
- Aperture Ring:De-clicked stepless
- Construction:Metal chassis, geared rings
Our verdict“An affordable gateway to true cine ergonomics and dreamy rendering for RF-mount full-frame shooters willing to pull focus themselves.”
SIRUI VP-1 Vision Prime 1 35mm T1.4 Full Frame Cine Lens (E/RF/Z/L Mount)
This is the smartest all-around spend in this batch. Where the 7artisans Dream Series leans into a stylized rendering, the VP-1 plays it straight: aspherical, ED, and HRI glass produce edge-to-edge sharpness engineered for 8K capture, making it the safer choice if your footage needs to hold up under grading and cropping. The standout feature is the interchangeable mount system — Sony E comes installed, and swapping to RF, Z, or L means one lens survives a camera-system change, something no other lens in this group offers. At roughly 600g in aluminum alloy, it also balances far better on gimbals than heavier cine primes. The compromises: no stabilization, no weather sealing, and manual focus only. Compared with the SIRUI VP-1 50mm sibling, this 35mm is the more versatile single-lens starting point.
Pros:- Interchangeable mounts cover Sony E, Canon RF, Nikon Z, and Leica L
- 8K-optimized optics with edge-to-edge sharpness and low distortion
- Compact ~600g aluminum body suits gimbals and handheld work
- Fast T1.4 aperture for low light and shallow depth of field
Cons:- Manual focus only — poor fit for autofocus-dependent workflows
- No image stabilization or water resistance
Best for: Multi-system filmmakers and gimbal shooters who want one sharp, future-proof cine prime
Not ideal for: Documentary shooters working in rain or rough weather — there’s no sealing and no stabilization
- Focal Length:35mm
- Maximum Aperture:T1.4
- Minimum Aperture:T16
- Focus Type:Manual Focus
- Lens Mounts:Sony E (pre-installed), Canon RF, Nikon Z, Leica L
- Filter Thread:67mm
- Weight:Approx. 600g
- Body Material:Aluminum Alloy
- Video Resolution:Up to 8K
Our verdict“The most rational first cine prime for full-frame shooters — sharp, light, and mount-agnostic for years of use.”
7artisans 35mm T1.5 Dream Series Manual Focus Cine Lens for Nikon Z Mount (Black)
Nikon Z shooters have fewer affordable cine options than Sony E users, which makes this native-mount version of the Dream Series an easy entry point. It shares the same DNA as the RF-mount variant — T1.5 speed, 11 blades, 300° throw, stepless aperture — so the buying decision here is really about mount, not optics. Against the SIRUI VP-1 35mm, this model is simpler and more affordable but gives up the interchangeable mount and the 8K-grade sharpness; its strength is character, not resolution charts. The de-clicked aperture ring lets you ride exposure mid-shot, a genuine cine feature most photo lenses lack. The fixed 35mm focal length means you’ll compose with your feet, and focus is entirely on you. For dialogue scenes and environmental portraits on Z bodies, it earns its place.
Pros:- T1.5 aperture performs well in dim interiors with low noise
- 11-blade design produces smooth, cinematic bokeh
- 300° throw and geared rings enable precise focus pulls
- Stepless de-clicked aperture supports in-shot exposure changes
Cons:- Manual focus only — no autofocus
- Fixed 35mm focal length limits framing flexibility
Best for: Nikon Z filmmakers building their first cine kit for dialogue and portrait-style work
Not ideal for: Shooters needing framing flexibility across focal lengths — a single 35mm prime forces movement
- Focal Length:35mm
- Max Aperture:T1.5
- Mount:Nikon Z
- Focus Type:Manual
- Aperture Blades:11
- Image Circle:43.5mm
- Focus Throw:300°
- Coverage:Full-frame
Our verdict“A characterful, low-risk first cine lens for Nikon Z full-frame shooters who can live with one focal length.”
7artisans 37mm T2.9 Floral Bloom Explosive Bokeh Cine Lens, PL Mount, Purple
This lens isn’t competing on sharpness or versatility — it’s a deliberate optical effect. The Floral Bloom renders a sharp center with radial blur bleeding toward the edges, producing a swirling, surreal image no correction or filter can convincingly fake. Where the 7artisans 35mm T1.5 Dream Series offers a subtle dreaminess, this model goes fully stylized, and the adjustable aperture lets you dial the effect’s intensity rather than being locked into one look. At 345g with a 300° focus rotation, it handles well on gimbals and small rigs. The PL mount targets cinema-camera ecosystems rather than mirrorless stills bodies, so check your adapter path before buying. It’s also T2.9 — two stops slower than the Dream Series — so plan for light. This is a seasoning lens, not a main course.
Pros:- Distinctive radial blur effect impossible to replicate in post convincingly
- Adjustable aperture varies the strength of the bloom
- 300° focus rotation gives precise manual control
- Compact 345g body suits handheld and gimbal work
Cons:- T2.9 maximum aperture demands substantial light
- Heavily stylized rendering limits its use to select shots
Best for: Music video, fashion, and experimental filmmakers adding a signature stylized look to their PL-mount kit
Not ideal for: Corporate, documentary, or narrative shooters who need neutral, edge-to-edge clean footage
- Focal Length:37mm
- Maximum Aperture:T2.9
- Mount:PL
- Focus Type:Manual
- Focus Rotation:300°
- Minimum Focus Distance:0.35 m
- Weight:Approximately 345 g
- Color:Purple
Our verdict“A one-trick lens worth owning only if that trick — explosive radial bokeh — is central to your visual style.”
SIRUI Astra 1.33x Full-Frame Autofocus Anamorphic Lens Kit for E-Mount Cameras, 50mm, 75mm, and 100mm, Neutral Flare
This kit solves the biggest pain point of budget anamorphic shooting: focus. With selectable autofocus plus LiDAR follow-focus compatibility, the Astra set works for solo operators and fast sets in a way the manual-only Dream Series and VP-1 simply cannot. The constant 1.33x squeeze across 50mm, 75mm, and 100mm gives you widescreen footage with consistent framing logic from lens to lens, and the 44mm image circle covers full-frame corner to corner — something many cheap anamorphics fail at. The T1.8 aperture is fast for the category, supporting low light and shallow anamorphic depth. Compared with the single SIRUI Astra 75mm blue-flare version, this kit costs more upfront but gives you a matched set and a neutral flare that flatters skin and mixed lighting. Budget for workflow adjustments: anamorphic files need de-squeezing in post, and you’re locked to Sony E.
Pros:- Autofocus plus LiDAR follow-focus support for solo and fast-paced workflows
- Three matched focal lengths with constant 1.33x squeeze for consistent widescreen framing
- 44mm image circle covers full-frame corner to corner
- Fast T1.8 aperture for low light and shallow depth
Cons:- Sony E-mount only — no other camera systems supported
- Anamorphic footage requires de-squeeze and workflow adjustments in post
Best for: Sony E-mount professionals building a matched autofocus anamorphic set for commercial or narrative work
Not ideal for: Canon, Nikon, or L-mount shooters — this kit is E-mount only
- Mount:Sony E-mount
- Lens Type:Anamorphic cine lens
- Focal Lengths:50mm, 75mm, 100mm
- Squeeze Factor:1.33x
- Image Circle:44mm
- Maximum Aperture:T1.8
- Focus Modes:Autofocus and manual focus
- Flare:Neutral
Our verdict“The most complete anamorphic solution in this roundup for Sony shooters who need autofocus and a matched three-lens set.”
7artisans 35mm T1.5 Dream Series Manual Focus Cine Lens (Full-Frame, Black)
Not every cine lens should be clinically perfect, and this is the pick for filmmakers who actively want optical character. The 7artisans 35mm T1.5 Dream Series trades edge-to-edge sharpness for a soft, painterly rendering that flatters faces and gives footage a vintage film feel. The fast T1.5 aperture paired with an 11-blade iris produces round, creamy bokeh that holds its shape wide open — something the more neutral 7artisans 50mm T2.0 simply doesn’t match in drawing style. A 300° focus throw, longer than the Thypoch Simera-C’s 210°, gives focus pullers extra finesse for slow, deliberate racks. Unlike the SIRUI Astra line, this lens is purely manual, with geared metal rings and a stepless aperture built for follow-focus rigs rather than run-and-gun shooting.
Pros:- Fast T1.5 aperture performs well in low light with low noise
- 11-blade aperture produces smooth, cinematic round bokeh
- Long 300° focus throw and geared rings enable precise focus pulls
- Durable metal construction resists optical axis deviation during camera motion
Cons:- Manual focus only — not ideal for autofocus-dependent shooters
- Soft rendering may not suit those wanting clinically sharp digital imagery
Best for: Narrative and music-video shooters who want dreamy, vintage-flavored full-frame footage on a budget
Not ideal for: Documentary or event shooters who rely on autofocus and need clinical sharpness for detail work
- Focal Length:35mm
- Aperture:T1.5
- Mount:Sony E, Nikon Z, Canon RF, Leica L
- Focus Type:Manual
- Aperture Blades:11
- Focus Throw:300°
- Sensor Coverage:Full-frame (43.5mm image circle)
- Series:Dream Series
Our verdict“Choose this if you want a full-frame 35mm that prioritizes mood and bokeh over clinical sharpness, and skip it if autofocus is non-negotiable.”
7artisans 50mm T2.0 Full-Frame Cine Lens for Sony E-Mount
For filmmakers buying their first dedicated cine lens, this 50mm T2.0 keeps the entry barrier low without giving up the core cinema features that matter: geared rings, a de-clicked iris, and a long 270° focus rotation. Compared with the 7artisans 35mm T1.5 Dream Series, this lens renders cleaner and more neutral, making it a safer choice if you’re building a matched set rather than chasing a specific look. The multilayer coating and optical design reduce focus breathing, which cheaper photography lenses often fail at — a real advantage when racking focus mid-shot. Against the SIRUI VP-1 Vision Prime 50mm T1.4, it gives up a stop of light and some build refinement, but it costs far less. The tradeoff: manual focus only, and you must remember to enable shutter release without a lens in camera settings.
Pros:- Constant T2.0 aperture supports low-light shooting
- 270-degree focus travel allows precise manual focusing
- Designed to reduce focus breathing
- 10 aperture blades create soft focus transitions
Cons:- Manual focus only
- Camera must be set to release the shutter without a lens
Best for: Sony E-mount shooters assembling their first cine kit on a tight budget
Not ideal for: Fast-paced solo shooters who need autofocus, or low-light specialists who’ll want the faster T1.4–T1.5 options in this lineup
- Focal Length:50mm
- Maximum Aperture:T2.0
- Minimum Aperture:T16
- Lens Mount:Sony E
- Image Format:Full frame
- Focus Type:Manual
- Focus Rotation:270 degrees
- Aperture Blades:10
Our verdict“A sensible starter cine prime for Sony shooters who want geared, breathing-controlled optics without the premium price of faster glass.”
Thypoch Simera-C 28mm T1.5 Cine Lens for Sony E Mount
Weight matters more than most specs when you’re flying a gimbal all day, and the Simera-C 28mm is the lightest full-frame cine option in this lineup at under 450 g. That aluminum-alloy build, combined with a wide 28mm focal length, makes it a natural pairing for handheld and stabilized work where a heavier lens would throw off balance. The 16 rounded aperture blades outnumber every other lens here — including the 11 blades on the 7artisans 35mm T1.5 — producing exceptionally round bokeh even as you stop down. Support for 8K resolution means it won’t be the bottleneck on high-end Sony bodies. The shorter 210° focus throw, compared with 7artisans’ 300°, trades slow cinematic pulls for faster operation in dynamic situations. Just know there’s no image stabilization and no weather sealing, so it relies entirely on your rig.
Pros:- Fast T1.5 aperture for low-light shooting and shallow depth of field
- Lightweight metal construction suited to handheld and gimbal setups
- 210° focus throw supports smooth, precise manual focus pulls
- Full-frame coverage and support for up to 8K resolution
Cons:- Manual focus only
- No image stabilization
- Not water resistant
Best for: Gimbal operators and run-and-gun full-frame shooters who need a lightweight, fast wide cine prime
Not ideal for: Shooting in rain, dust, or harsh environments, or focus pullers who prefer long-throw precision over agility
- Focal Length:28mm
- Maximum Aperture:T1.5
- Minimum Aperture:T16
- Aperture Blades:16 rounded blades
- Focus Throw:210°
- Mount:Sony E
- Sensor Coverage:Full frame, up to 8K resolution
- Weight:Under 450 g
Our verdict“The gimbal-friendly wide prime of this roundup — pick it for weight and 16-blade bokeh, skip it if you need sealing or stabilization.”
SIRUI Astra 50mm T1.8 1.33X Autofocus Full-Frame Anamorphic Cine Lens for E-Mount (Blue Flare)
This is the most technologically ambitious lens in the batch, and the only one that answers the question most budget cine lenses ignore: what if you want anamorphic widescreen and autofocus at the same time? The 1.33x squeeze produces a ready-to-edit 2.35:1 image straight off the sensor, and its 44mm image circle covers full frame corner to corner. Compared with the manual-only Thypoch Simera-C or the 7artisans 50mm T2.0, the AF/MF switch and LiDAR follow-focus compatibility make it dramatically easier to operate solo on a gimbal. The selectable blue or neutral flare gives you a stylistic dial most anamorphics don’t offer. The real tradeoffs are commitment and bulk: it’s Sony E-mount only, and the anamorphic construction makes it bigger and heavier than a standard spherical 50mm like the SIRUI VP-1 Vision Prime 50mm T1.4.
Pros:- Full-frame autofocus anamorphic design with corner-to-corner 44mm coverage
- 1.33x squeeze delivers a ready-to-use 2.35:1 widescreen image in one step
- Fast T1.8 aperture provides strong low-light performance and shallow depth of field
- Professional controls including AF/MF switch, focus scale, and LiDAR follow-focus support
Cons:- Limited to Sony E-mount cameras
- Anamorphic design adds bulk and cost compared to standard prime lenses
Best for: Sony E-mount solo filmmakers who want true anamorphic widescreen with autofocus convenience
Not ideal for: Multi-brand shooters or anyone on a smaller rig — the E-mount lock-in and anamorphic bulk make standard primes more practical
- Focal Length:50mm
- Lens Type:Full-frame anamorphic cine lens
- Squeeze Factor:1.33x
- Maximum Aperture:T1.8
- Image Circle:44mm
- Mount:Sony E
- Autofocus:Yes (AF/MF switch)
- Flare Options:Blue flare / neutral flare
- Follow Focus:LiDAR follow-focus compatible
Our verdict“Buy it if you shoot Sony and want cinematic anamorphic scope without manual-focus headaches; skip it if you need cross-mount flexibility or a compact spherical prime.”
How We Picked
I compared the 14 listings by how well each addresses a distinct full-frame filmmaking need: flexible coverage, fast prime shooting, anamorphic rendering, compact focal-length choices, or a pronounced creative effect. I also weighed the practical details a buyer can assess from the listed specifications, including maximum aperture, focal length, mount, focus approach, and whether an option is sold as a set.
The order favors broad usefulness first, then choices with a clear advantage for a particular workflow or look. That puts the Catta zoom bundle ahead for coverage, followed by lenses and sets that offer a defined path into fast primes or autofocus anamorphic shooting. Mount-specific and effect-forward lenses rank lower for general use because they serve narrower setups. Product descriptions do not establish image quality, handling, or reliability through direct testing, so I avoid treating those as proven advantages.
| cine lenses full frame | Mount | Maximum aperture | Focus type |
|---|---|---|---|
| DZOFILM Catta 35-80mm and 70-1 | Sony E | — | — |
| SIRUI VP-1 Vision Prime 1 75mm | — | T1.4 | — |
| 7artisans 50mm T1.5 Dream Seri | Nikon Z | T1.5 | Manual |
| SIRUI VP-1 Vision Prime 1 50mm | — | T1.4 | Manual focus |
| SIRUI Astra 75mm 1.33X Auto Fo | Sony E | T1.8 | Auto/manual |
| 7artisans 35mm T1.5 Dream Seri | Canon RF (also available E, Z, L) | — | Manual |
| SIRUI VP-1 Vision Prime 1 35mm | — | T1.4 | Manual Focus |
| 7artisans 35mm T1.5 Dream Seri | Nikon Z | — | Manual |
| 7artisans 37mm T2.9 Floral Blo | PL | T2.9 | Manual |
| SIRUI Astra 1.33x Full-Frame A | Sony E-mount | T1.8 | — |
| 7artisans 35mm T1.5 Dream Seri | Sony E, Nikon Z, Canon RF, Leica L | — | Manual |
| 7artisans 50mm T2.0 Full-Frame | — | T2.0 | Manual |
| Thypoch Simera-C 28mm T1.5 Cin | Sony E | T1.5 | — |
| SIRUI Astra 50mm T1.8 1.33X Au | Sony E | T1.8 | — |
Factors to Consider When Choosing Cine Lenses Full Frame
Before choosing a lens by its look or aperture, I’d check how it fits the camera, the shooting plan, and the crew’s focus workflow. These broader decisions can prevent an appealing lens from becoming the wrong tool once production starts.
Match the mount to the camera and your future body
Start with the camera body you own, then check the exact mount listed for each lens. A family that comes in E, RF, Z, and L versions does not mean one physical lens fits all four mounts. Adapters can expand options, but they may affect clearance, balance, or access to lens controls, depending on the camera and rig. For a multi-camera production, check whether every body can share the same lens set without changing adapters or support. If you expect to change systems, mount flexibility across a lineup can matter more than a small difference in focal length. Treat mount as a production constraint to resolve before comparing creative character.
Choose zoom coverage or a prime set
A zoom can reduce lens changes and help a small crew react quickly to shifting blocking, but it may not offer the same maximum aperture across the range as a fast prime. Primes make focal length choices deliberate and can simplify matching a set, though a project may need several lenses to cover the same framing options. Think through how often you actually reframe during a take and whether the camera position can move instead. A two-zoom bundle can cover many everyday shot sizes, while a 28mm or 75mm prime gives a more specific field of view. Avoid buying focal lengths solely because they look like a complete set; consider the rooms, distances, and shot sizes your work uses.
Decide how much low-light flexibility you need
A faster maximum aperture can help when light is limited or when you want shallower depth of field, but it does not automatically improve every shot. At wide apertures, focus becomes less forgiving, especially for moving subjects, so the crew and monitoring setup need to support that choice. If you often shoot controlled scenes, lighting and exposure planning may make a slower lens workable. Compare the actual aperture figures across a set rather than assuming all lenses in a family perform alike. A fast prime may be a stronger fit for available-light scenes, while a zoom can make more sense when reframing matters more than the widest stop. Choose based on your working conditions, not the number alone.
Pick spherical or anamorphic for the project
Anamorphic lenses shape the image differently from conventional spherical lenses, and the resulting framing and character should suit the project from capture through delivery. Check the squeeze factor and how your camera or editing workflow handles de-squeezing and monitoring. Autofocus can reduce focus workload on solo shoots, but a focus-pulling crew may prefer the direct control of a manual lens. Flare color is a creative choice that affects how highlights appear, so it is sensible to consider the lighting environments where you will use it. Do not select anamorphic only for a distinctive frame; confirm the intended aspect ratio, post-production plan, and focus method first.
Plan focus around the crew and subject
Manual focus puts more responsibility on the operator or focus puller, which can be useful when repeatable marks and deliberate focus moves matter. Autofocus may help solo filmmakers keep moving subjects sharp, though performance depends on the lens, camera body, settings, and scene. Consider whether your subjects move unpredictably, whether you pull focus remotely, and how much setup time each shot allows. A fast lens can make focus harder even when it gives more exposure flexibility. Before building a kit, check that your camera supports the focus features you expect to use. The best workflow choice depends on the crew and scene, not just the label on the lens.
Pay for a special look only when you can use it
Distinctive bokeh, anamorphic flare, or a specialized focal length can give a production a recognizable visual direction. Those traits can also limit where the lens fits, especially if the look is too pronounced for routine coverage or continuity across scenes. A general-purpose prime or zoom can be a safer first purchase when the project brief is still changing. For an effect-forward lens, think about how often the effect will appear and whether it can be repeated across the shots that need a consistent style. A niche lens makes more sense when a director or cinematographer has a clear visual plan for it. Build a versatile core first if one specialty look would otherwise dictate every lens choice.
Frequently Asked Questions
Should I buy a zoom bundle or start with one prime?
I’d choose the Catta zoom bundle when a small crew needs to adjust framing quickly across varied scenes. A prime is a better starting point when a project uses a consistent focal length or when you specifically want a fast aperture, such as the VP-1 T1.4 options. Also consider how many lens changes your rig permits during a shoot. If you are unsure which focal lengths you use most, renting or borrowing a lens before building a set can help you avoid buying coverage you rarely need.
Are the SIRUI Astra lenses a good first anamorphic choice?
They may suit a first anamorphic setup if autofocus is part of your preferred workflow and your camera supports the E-mount version. Before committing, confirm that your monitoring and post-production tools can handle the 1.33x squeeze and that the resulting aspect ratio suits delivery. The Astra kit groups 50mm, 75mm, and 100mm lenses, while separate listings offer individual focal lengths and flare choices. A kit can provide more consistent coverage, but it asks you to adopt an anamorphic workflow across several focal lengths at once.
Can I use these lenses on any full-frame camera?
No: full-frame coverage and camera mount are separate compatibility questions. The listings include specific versions for Sony E, Nikon Z, Canon RF, PL, and other mounts, and a lens may not be available in the version your body needs. An adapter can sometimes bridge mounts, but check camera compatibility, physical clearance, and electronic functions before relying on one. Confirm that the exact product listing names your mount, rather than assuming the same lens family fits every camera.
Is a T1.4 prime always better for low-light filming than a zoom?
A T1.4 prime gives more aperture flexibility than a zoom whose maximum aperture is T2.9, which can help in dim settings. But the extra light comes with a shallower focus range, making moving subjects more demanding to keep sharp. A zoom can still be the more useful choice when the scene changes quickly or there is little time to swap lenses. Compare the exposure benefit with your focus support, subject movement, and lighting plan before deciding.
When does a specialty lens make sense for a first kit?
A specialty lens makes sense early when a specific visual effect is central to the project and the lens can cover the shots that need it. The 7artisans Floral Bloom 37mm is a more focused creative choice than a general prime, so it is harder to justify as the only lens for mixed work. A wide 28mm prime or standard 50mm can handle more everyday framing, depending on your camera distance and style. If the project has no defined look yet, start with versatile coverage and add an effect lens once you know where it will appear.
Conclusion
For the best overall coverage, choose the DZOFILM Catta zoom bundle; its two focal ranges suit varied scenes and reduce lens changes. For a fast-prime starting point, the SIRUI VP-1 50mm T1.4 is the most adaptable standard option in its family, while the VP-1 35mm and 75mm serve wider and tighter framing. The lineup’s best value depends on your needs: the 7artisans Dream Series primes offer a direct manual-focus route, while the Catta pair may be more useful when one purchase needs to cover many shot sizes. Beginners working solo may prefer an Astra autofocus anamorphic if they want its distinctive look and have compatible camera and post workflows. For premium kit coverage, consider the SIRUI Astra three-lens set; for a wide-angle cine prime, look at the Thypoch Simera-C 28mm, and for a pronounced bokeh effect, the Floral Bloom 37mm has the clearest specialty role.
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